"Your Beauty I'd Still See" - Poster Giveaway

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"Jana Jade's Army" - Interview with Jana Anderson

    Photo courtesy of Jana Anderson

For iconic R&B singer Jody Watley, the 1989 hit "Real Love" was a boost to her already red-hot solo career. For then-unknown Minneapolis singer Jana Anderson, the song was an entrée into the world of Prince.

Anderson covered "Real Love" that year on the local talk show "Twin Cities Live." She had no idea the Purple One was watching.

"I, by chance, was wearing a very 'Prince' outfit," recalled Anderson, who was 21 at the time. "I was wearing 'Prince' boots with the gold buttons on the side and the little heel. [I wore] a crop top. ... I just bought it because I liked it."

He also noticed her singing at the annual Minnesota Music Awards, and then began showing up at Rupert's, a local nightclub where Anderson regularly performed.

"I'd always dreamed of being one of Rupert's singers because they were always the best in town," said Anderson, who was also the runner-up in a Miss Minnesota competition and a contestant on "Star Search" during the late '80s.

Prince's bodyguard informed Anderson that the superstar wanted her to record at Paisley Park. She agreed, and spent the next five years doing session work.

She quickly learned the rigors of working with Prince--on top of her other activities: doing commercials and singing at Rupert's well after midnight, five nights a week.

"I would be asked by Prince to come out after five hours of the 'Running Man' and the 'Cabbage Patch' (onstage)," Anderson said. "And I'm a high-energy girl. I always leave it on the stage."

But she was honored when Prince put her on retainer.

"[I thought], 'If he wants me that badly, I'm just going to have to figure it out and just be tired,'" she said.

    Photo courtesy of Jana Anderson

During those early days, Anderson remembers that Prince's studio was dressed up with Batman decorations, including a glass cutout of the bat symbol. (Prince wrote and produced the soundtrack for the 1989 film). And actress Kim Basinger, whom Prince was dating, would be there at times.

Much of Anderson's work for Prince is uncredited or little-known. She can be heard saying "partyman" at the beginning of Prince's 1989 video of the same name. She sang backup on "Miss Thang," a song by T.C. Ellis, a rapper in Prince's camp. She also sang backup on both "Shake!" and "My Summertime Thang" by the The Time.

"I was like the mystery girl," said Anderson, who was sometimes referred to as "blondie" on recordings. "I had no expectations. ... [For] everything he kept handing to me, one thing after another, it was gratitude, like, 'I can't believe I'm doing this,' and, 'I wouldn't have dreamed this.'"

Prince nicknamed her Jana Jade, and even wrote a mid-tempo pop song for her called "Jana Jade's Army," which is in his vault. Anderson also recorded an unreleased cover of The Esquires' 1967 song, "Get on Up." (Prince also recorded a version and later sampled the tune for Carmen Electra's song, "Everybody Get on Up.")

Anderson saved a recording of Prince singing the track to her, along with a voicemail. "He called me and all he said was, 'Let me know where you are,'" she said, doing the requisite "Prince voice" impression.

According to Anderson, Prince also wanted to record a house album with her. She said he would compliment her on the soulfulness of her voice, and he gave her space to interpret the music in the studio.

"He was gracious and sweet," she said. "I've heard people say he was insanely controlling. He was the 180-degree difference with me."

Anderson was also sought after by other musicians in Prince's circle, participating in recording sessions for St. Paul Peterson, Matt Fink and Brownmark.

"I love Jana’s voice," said engineer Chuck Zwicky, who worked with Prince in the late '80s. "She’s got such a wide range but she is really the princess of that 'sexy voice inside your head' thing."

Anderson is featured prominently on the song "MPLS," which was released on Prince's 1994 compilation album, 1-800-New-Funk. It is credited to the band Minneapolis, which included a shifting lineup of musicians: Morris Hayes, the Steeles, Kirk Johnson, Michael Bland, Billy Franze and Kathleen Johnson.

Anderson was no longer working with Prince when the song was released, and had no idea she would be on the final version.

"I thought my voice was going to be replaced by a famous person," she said.

Prince also created an unreleased, animated video for "MPLS," which featured Anderson's likeness. She remembers thinking it was ahead of its time.

"His assistant showed me in the office at Paisley Park," she said. "And I just thought, 'What a drag. I never got any success from this. I never got to promote it.'"


Anderson said she was working with a well-known songwriter who attempted to block Prince from releasing "MPLS." Prior to that, she left Prince's camp to pursue a record deal with Sony Music and work with Oliver Leiber, hitmaker for Paula Abdul and the son of legendary songwriter Jerry Leiber. But, according to Anderson, Leiber was unable to finish her solo album.

Anderson said she has no regrets.

"There were rumors that Prince would sign people and not do anything with them," she said. "And I was a little scared of that. ... I made the best decisions I could at the time with business and doing the kind of music I wanted to do. And Oliver had the kind of music that was really fun."

Anderson went on to work with Fleetwood Mac, Don Henley and Sheena Easton. Around 2008, she spotted Prince on a flight to Minneapolis, and they spent time catching up. He surprised her by suggesting she record a country album, which she was in the middle of doing at the time.

"He just knew stuff," she said. "It was like he was clairvoyant."

She said Prince also offered an apology.

"He said, 'I'm really sorry about what happened when we were working together,'" she recalled. "'I don't know if you heard, but I was having a lot of trouble with my record company at that time.' ... Maybe he felt bad I didn't get credit for 'MPLS.' I'm not sure what [it was]."

Anderson also gathered the courage to ask why he chose her among other singers to record for him.

"It flustered him [at first]," she said. "He goes, 'Well, you sing in tune and you have great time.' ... [It was] the best compliment of my life. ... There's no one who will ever have better time than Prince."

For Anderson, that final memory of Prince is one of many, including the way he smelled ("like essential oils mixed with perfume"), the time he playfully lectured her about eating gummy bears, and the opportunity to watch his impressive work in the studio.

"It was his technical ability, combined with his creativity, combined with [hard work]," she said. "He danced great. He sang great. He played all the instruments. He was a great engineer. Most people get two or three of those."

Today, Anderson is still making music in Minneapolis, and she teaches lessons and performs with a tribute band.


She looks back on her career with gratitude.

"I didn't even know how people got a job singing at a bar when I was in high school," she said. "And then I ended up doing all this. Prince was the blessing of a lifetime."


Keep up with Jana Anderson

Website: janaanderson.com
Twitter: @janaanderson1
Instagram: @janajadesarmy


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"The Rainbow Children" - Three Bible Verses to Know

In honor of the legacy reissue of The Rainbow Children, Prince's 2001 spiritual masterpiece, I've highlighted some Bible verses that are referenced on the album. I used the New World Translation of the Holy Scriptures, which is the Jehovah's Witness text Prince studied during this time.

1) “Look! The days are coming,” declares Jehovah, “when I will make with the house of Israel and with the house of Judah a new covenant." - Jeremiah 31:31

On Prince's 1988 spiritual concept album, Lovesexy, he stated, "Save me, Jesus. ... You are my God." On The Rainbow Children, which is more rigid in its presentation of Biblical doctrine, he is careful not to equate Jesus with Jehovah. Still, the latter record is, in many ways, a love letter to Christ.

When Prince sings, "The covenant will be kept this time," on the title track, he is referring to an agreement between God and humanity that yields forgiveness of sins through the sacrifice of Jesus. Many Christians believe that this covenant was foretold in the Old Testament.


2) "Who can find a capable wife? Her value is far more than that of corals." - Proverbs 31:10

When Prince mentions a scripture directly, it makes interpretation of his lyrics a little easier. On "Muse 2 the Pharaoh," he speaks about the qualities of the ideal wife--according to Biblical wisdom. The section of Proverbs describes this woman as resourceful, business-minded, hardworking, wise, kind and pious.

Because this is Prince, there's a lot more to consider, including subtext about his real-life marriages and a perception of women that some may find problematic. There are also references to race that have been debated ad nauseam in the fan community.


3) "We heard of your faith in Christ Jesus and the love you have for all the holy ones because of the hope that is being reserved for you in the heavens. You previously heard about this hope through the message of truth of the good news." - Colossians 1:4-5

Evangelism is a major part of the Jehovah's Witness faith. Followers seek to spread their beliefs, which they refer to as "the truth," to as many people as possible, and continuously practice strategies for effective communication. In their literature, they cite the scripture above to emphasize the importance of their mission.

Prince echoes this sentiment in the song, "The Everlasting Now."

"Don't let nobody bring you down
Accurate knowledge of Christ and the Father
Will bring the everlasting now
Join the party, make a sound
Share the truth, preach the good news
Don't let nobody bring you down
The everlasting now"



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"Computer Blue" - Song of the Month

Each month I will share some brief, personal thoughts on one of my favorite Prince songs.


"Computer Blue" was the subject of the first music theory assignment I did during my senior year of high school. I can't remember what I was trying to demonstrate; perhaps it was the musical change near the middle of the song. After all, it was that section that took my breath away when I watched the movie for the first time a year earlier. I grew up knowing about legendary black guitar players, but I didn't engage with them regularly. Watching the "Computer Blue" performance changed that; the melody of the second section is simple, but it was so beautiful to me, and I had to know everything about this clearly amazing guitarist, who was so connected to every note he was playing. I was a disciplined musician at the time, preparing to go off to college to study flute performance, which I would do for two years before starting a long journey to becoming a journalist. Prince inspired me as an instrumentalist and as a writer. In college, I did more assignments on him and began the work that would eventually become my book. I spend a lot of time promoting this post-'80s work, but "Computer Blue" will always be important to me. It still takes my breath away.


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"Eye Hate U" - Flutestrumental #1

My rendition of "Eye Hate U - Quite Night Mix."


Drop flute requests in the comments!
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"Spirit's Calling" - Donna Summer + Prince (Part One)

As unique as he was, Prince's music, ideas, career and life experiences did not exist in a vacuum. Many before him navigated the same hurdles.

As an artist, Prince was able to make interesting and often profound statements about sexuality and spirituality. But, at times, he struggled with the limitations of his image as a sex symbol, especially as his spiritual beliefs shifted over time. The same challenge was faced by his predecessors Little Richard, Al Green and Marvin Gaye. I've explored their stories in my book.

Donna Summer had a similar tale. A versatile singer and complex woman, she was pigeonholed by her "Queen of Disco" moniker and "sex goddess" persona. A highly religious woman, she had a spiritual awakening in the late '70s, and became more intentional about using her talent for a righteous purpose. But she grappled with how to serve God and her fans at the same time.

I recently read her 2003 memoir, Ordinary Girl: The Journey. Here are some things she has in common with Prince, spiritual and otherwise.

Church Roots & Angels

It's not uncommon for black singers to get their start in church. Born Donna Gaines in 1948 in Boston, the future superstar made her debut at her African Methodist Episcopal church. "I could hear God's voice clearly and distinctly inside my head, saying, 'You're going to be famous,'" she wrote. "That's power, and you are never to misuse it.'"

Summer had multiple, spiritual experiences growing up. She recalled becoming aware of God's presence in nature at 5 years old. A short time later, she said she became aware of God's protection when she nearly drowned. And at 19, she was convinced she'd met an angel, when an old, white-haired man stopped her on the street and predicted that she would have an opportunity to move overseas and become famous. Then, he disappeared.

"I started to weep right there in the street--not tears of sadness or fear, but an outpouring of all my emotions that had been stirred by the angel's vision and prophetic words," she said.

Prince had his own encounter with an angel, though he didn't retain the memory. It was an experience his mother recounted to him. Apparently, after suffering from epileptic seizures during his childhood, he informed his mother that an angel told him he wouldn't be sick anymore. Sure enough, he got better.

But Prince didn't share any other reports of God or angels speaking to him during his youth. He acknowledged God as the source of his musical inspiration, but that seemed to be a realization he came to gradually as he progressed in his career and his faith.

However, religious themes permeated his music from the beginning. He'd been exposed to Christian beliefs as a child in both Seventh-day Adventist and Methodist churches. A youth leader remembers Prince participating in choir, but not often; he didn't develop his singing chops there.

Work Ethic & Early Success

Prince honed his skills playing in bands and doing session work in Minneapolis. At 19 years old, he signed a three-album deal with Warner Bros., becoming the youngest person in the label's history to produce an album.

Summer was also 19 when she was offered her first recording contract by RCA in 1968. Prior to the opportunity, she'd spent years performing at church and in singing groups before joining a rock band, the Crow, and moving to New York City. However, instead of going forward with RCA, she auditioned for a European production of the musical Hair, and moved to Germany, where she lived and made a name for herself for the next seven years.

Summer was drawn to the 1960s counterculture both on- and offstage. "I could feel there was something more than just music in the fresh air of the sixties, and I was breathing deep, taking it all in," she said. "It was the beginning of a great liberation."

Prince was also drawn to the culture. Though his career took off in the '80s, he explored the theme of liberation through sexual freedom in his early songs like "Uptown," "Partyup" and "Sexuality." And, of course, he built his Paisley Park paradise in Minneapolis.


Superstardom & Controversy

Both future Rock and Roll Hall of Famers were catapulted to superstardom around the same age; Prince at 26 in 1984 and Summer at 27 in 1975. Prince became an icon with his Purple Rain movie and album, while Summer broke through in the U.S. with her No. 2 hit, "Love to Love You Baby."

Prince had long been viewed as a rebel with his sexually explicit lyrics, revealing costumes and gender-bending image. His 1984 song "Darling Nikki" prompted Tipper Gore to form the Parents’ Music Resource Center, which eventually developed the "Parental Advisory" labels on albums.

While Prince's risqué  image was more strategic on his part, Summer didn't necessarily set out to be a sex symbol. "Love to Love You Baby" was controversial due to her erotic moans, which were improvised. Casablanca Records--financed by Warner Bros.--requested a 17-minute version of the song.

"I'd never intended to sing the song that way," Summer wrote. "[It] happened simply because we had run out of words, and I had to do something to fill the time."


Summer was immediately bothered by the content and her portrayal in the media. "Even a Time magazine article described me as the Queen of Sex-Rock, which I found appalling," she wrote. "As far as I was concerned, singing 'Love to Love You Baby' was just an acting exercise."

After years of playing up his sexual side, Prince began to feel the tension between the sacred and profane in his music as early as the Purple Rain tour. His onstage monologues about love versus lust and his belief God seemed to hint at an internal struggle.

"I know I said I'd be good," he said to God in front of the audience, "but they dig it when I'm bad."

Summer also wondered if she was pleasing God.

"Because of my strong religious faith, I felt very guilty about allowing myself to publicly be made into a false and prurient sex goddess," she wrote. "Don't get me wrong, sex is a beautiful thing in the right context, and I'm not a prude. But flaunting myself in this manner went totally against my moral grain."

Before long, both she and Prince would take steps to reconnect with their faith.

Stay tuned for part two!


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"Daddy Pop" - Favorite Prince Quotes (1990s)

*Featuring art from the 9T99 Coloring Book

"There’s nothing a critic can tell me that I can learn from. ... If they were musicians, maybe. But I hate reading about what some guy sitting at a desk thinks about me. You know, ‘He’s back, and he’s black,’ or ‘He’s back, and he’s bad.'"

- Rolling Stone, 1990

"If I was somebody else, writers and critics would be all up in the way the chords work and the keyboard lines. They just write off my slow jams."

- Spin, 1991

"I said to him, ‘Do you believe in God?’ And he says, ‘No.’ And I say, ‘Do you believe in faith? In hope?’ By the end of it, blood was down on his knees, looking for a church to go pray.”

- The Globe and Mail, 1996

"I really don't like categories (for my music), but the only thing I could think of is inspirational. And I think music that is from the heart falls right into that category, people who really feel what it is that they're doing. And ultimately all music is or can be inspirational. And that's why it's so important to let your gift be guided by something more clear."

- Larry King Live, 1999

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