Prince – The 15 best B-sides!

Prince And The NPG – Gett Off & Clockin’ The Jizz

Edward’s top 15 Prince B-sides

1. Shockadelica
   Originally intended for his alter-ego Camille album, and also for a single b/w Housequake in late 1986. The entire Camille adventure was recorded with Prince experimenting with his vocals in an artificially pitched-up style to create an androgynous tone. Weeks before its release, the project was abandoned for unclear reasons. It evolved into Crystal Ball, also shelved, and finally into Sign O’ The Times. The track was eventually released as the B-side to the If I Was Your Girlfriend (also originally from the Camille LP) single in 1987 with both tracks having the Camille voice.
   I always felt this song is just Genius. With a capital G. Beyond casual listening actually, one should listen to this track as some sort of alternate art. One cannot label it definitely: pop? rock? soul? funk? Anyway, Shockadelica is Prince at his peak of creativity, daring to seek other means of getting his talent, vision, inspiration and ingenuity across. I just like it soooo much. It is uberfunky, quirky unconventional Prince, yet catchy and an absolute joy to listen to. I get thrills down my spine, every time I hear the introduction to this track. You get this urged feeling of throwing a party right away. I always thought, it appears so anyway, that Prince had a lot of fun recording this track. My first encounter with this track was when I bought the UK picture disc 12″ back in 1987 so that was certainly adding an extra dimension ….. immediately, I was drawn to it (we certainly didn’t know anything about the Camille character way back then). All in all, my favorite B-side of all time.
   Shockadelica? meaning? Most likely, it is about a feeling one gets when encountering a seductive woman, with no suggestion that the feeling is mutual in this case. Thus the female having all the power, almost to a supernatural state (using the witch part of the song as a metaphor). The lyrics are just off the charts.
2. Feel U Up
   As with Shockadelica, immediately I get in some sort of delighted state, when hearing this track. It is so catchy, you are instantly soaked up by its energy. Do your dance ….. Another track from the Camille LP. The whole set-up for this concept is just so freakin’ genius. Funky as hell. I can listen to this album every week and never get bored. As said already with Shockadelica, this is the ultimate fun, joy & party album in my book.
   Originally demoed way back as 1981 after the Controversy release (and released slightly reworked on the 1999 Super Deluxe Edition in 2019), the track was re-recorded in the autumn of 1986 for the Camille album, this time around way funkier, but with yet no release again. But this latter mix eventually found its way to the public as the B-side to Partyman in 1989, a perfect match again (see number 1), as the track Partyman also uses a pitched-up voice.
   Lyrically, Prince is continuing his sexual frustration of the Shockadelica-theme, still trying to conquer the woman of his desire. So, one could say that the numbers 1 and 2 align perfectly. Another party tune with shamelessly perverse lyrics. As I am sure that everyone will notice that the word ‘feel’ is pronounced in such a way that one could easily hear the word ‘fill’ instead, which would suit the content of the lyrics even better.
3. Erotic City
   Full title actually being: Erotic City (Make Love Not War; Erotic City Come Alive) ) as mentioned on the 12″ Let’s Go Crazy which this track is the B-side to. Easily one of the most celebrated, and surely one of the most controversial killer B-sides.
   After the iconic single release of When Doves Cry/17 Days (see 17 Days), I was eagerly looking for the very first pressing of the Purple Rain LP, on purple vinyl, in June 1984. In the end, there was only one store turning out to have it. And that wasn’t even a record store but just a large supermarket that happened to have a selection of the best-selling LP’s of the time. Very funny how that went ….. the albums were all sealed there. So I had to boldly open the seal to see what color LP was inside. Immediately, of course, a salesperson breathing down my neck: hey, you can’t just take the plastic off! Me, looking back with a face like: watch me! Calmly I explained: just want to check if the LP is purple. He: yeah right, watcha talking ’bout? And then the album came out: indeed, purple! Haha! You should’ve seen that guy’s face ….. oh wow, I’ll buy one right away too! So, we had a great laugh about it afterwards.
   After gotten hold of that particular pressing of the Purple Rain LP, I was ultra excited for the new 12″ on the menu, way back in the late summer of 1984. Somehow, I already knew that this particular 12″ would have an extended dance mix on Let’s Go Crazy but also a unique B-side, not on the Purple Rain-album. Understandably, as Erotic City is not featured in the accompanying movie. We were still very far away from the internet, and the only news channels back then were music magazines (especially the British were quite up to date) and the radio. I’m guessing I knew it from an advertisement in the British New Musical Express? I simply had to have this 12-inch, right now, the minute it came out. So, the day it was released, I immediately went into town, strollin’ at every recordshop, and there were quite a few in those days. But not every shop was selling import 12-inches from the USA. Please, remember that the USA 12″ was on the market much earlier in comparison to the European 12″. So, only one shop, who also did imports, had just gotten a package of those USA 12″ in, like an hour before. They still had to be unpacked. OK very nice, but I don’t care … now, please?! (I was terribly impatient in those days). So, luckily the shop attendant understood my urge and Prince being a very hot selling artist at the time, he unpacked the box with a big smile and I got my 12″ much to my delight. I listened to the record in the shop right away through sassy and bassy headphones and was dancing all the way through, especially at the notice of that 3-minute extra instrumental coda on LGC. Wow, just WOW …. it blew me away. This was great stuff! Now, play the B-side, please. Eeeeuhm OK ….. I might have gotten some reddish cheeks there ….. what the funk is this song? And the lyrics, they are quite ….. unashamed and sleazy. And for me, it was a first encounter with Sheila E, whose album The Glamorous Life I wasn’t very familiar with at the time, though I knew who she was. Plus: what’s up with Prince’s voice?! It was actually the first track on which Prince ever used his sped-up voice, later fully realized in the Camille-project … is it becoming a running theme here?! Erotic City contains a cacophony of voices; some sped-up, some slowed down, some belonging to Prince himself, some belonging to Sheila E.
   Just so blown away by this 12″ … Erotic City has such an infectious groove. Clever lyric use, whooping everybody’s attention. The sparseness of the track -yet very persuasive- recalling a sparse When Doves Cry, though an incredible bass-line present here, besides being ridiculously funky. It was mentioned, that Prince drew inspiration heavily from Laid Back’s White Horse for the track. U should take a listen to it sometime.
   I decided right away there in the recordshop that this was my favourite 12″ …. well, for 1984 anyway. So, you understand, very fond memories of this particular release. The whole package, an A-side with an extended dance mix, a unique B-side in its extended form and also because of the quintessential motorbike sleeve (USA 12″); sorry, I am not particularly fond of the European picture sleeve, despite it being a still from the movie. ?
4. 17 Days
   An absolute fan favorite I guess. Again, with a sparse feel to this song, it seemed to work very effectively. A very driven and urged track. Thus, 17 Days being quite the suitable B-side to the also sparse When Doves Cry. Such a powerful combination as well as an iconic single release in my music catalogue. Looking back, I recall being starstruck by Prince, ever since Controversy. And 1999 being my favorite dance tune at that time. This artist, favorite colour purple, seeking gender boundaries, wearing high heels and a purple trenchcoat …. though in the summer of 1984, it absolutely went cosmic. The single When Doves Cry was just so immediately a classic. I think I was playing the tune all summer long at the swimming pools … that bold arrangement, no bass, those vocals … that supreme purple single sleeve with Prince wearing dark glasses. Epic!
   The track is noticeable for its contrast of the sad and lonely lyrics (of a lover who’s been gone for 17 days) against the rather upbeat, happy sounding rhythm. Though the plain driven monotonous beat (no, not saying dull!) maybe resembles the drag and loneliness of the day? Wendy & Lisa are providing backing vocals but they are not the only ones. Originally intended for a second album by Vanity 6, one can still hear Brenda Bennett’s backing vocal as well.
   Some 35 years later, a full length version (7:23) was finally discovered in the vaults, having an extended instrumental portion (after the familiair 3:54 version fades out) as well as extra lyrics. An absolute joy to hear that and know now it even existed! Too bad it was never released on the 12″ of When Doves Cry. That would’ve made that release just unquestionably perfect.
   Also released in 2018 as a 6-minute piano rehearsal on Piano & A Microphone 1983.
5. La, La, La, He, He, Hee
   Only a fun track if listened to in its original full-length version. It might seem like kind of a lot for a song of a mere 10 minutes about a cat in a tree, but when you’ve got a groove that won’t quit, it doesn’t really matter what the lyrics are about. Very amusing, lively and different. I always get happy at an instant, when playing this track. The song is fast-paced on a high energy beat and reminiscent of P-Funk, depicting a chase between a cat and a dog. It contains a snare drum sounding like a dog’s bark, which originates from a sample-synthesizer. Also features Sheila E. on vocals.
   The track was created as a response to a dare by Sheena Easton who claimed that Prince wouldn’t be able to write a song from such a basic phrase about a cat up in a tree, teasing a dog (Sheena being sarcastic). But Prince replied ‘that could be a song’. Sheena on her part: ‘what do you want me to sing? La La La He He Hee, I love you, You love me?’. Prince agreed, much to her surprise, saying ‘yeah, that’d be kind of cute; go ahead and write it’ … resulting in her writing co-credit.
6. ♥ Or $
   a.k.a. Love Or Money. And what do we have here? Yes, again ….. a Camille voice driven track. Though never intended for the project and not regarded as a Camille track as such by Prince. A song with a very Paradeera ambience to it, though full of surprise instrumentation on it, which gives it a fuller/busier production feel, in comparison to the sparse production of the other stuff on the Parade album. A brief sample of the song can be heard in the movie Under The Cherry Moon nevertheless. Wendy & Lisa are providing a “Love or Money” chant throughout the whole track. Lyrically, Prince was still in a, shall we say, uncompromising modus, stating: “the boy was in need of some diehard pussy” (only on the 12″ btw). Nice anecdote: when I bought this 12 “, I thought: aren’t those vocals from Prince weird sounding? So, I played the 12” at 33 rpm …. resulting in his normal voice with a delayed track, but still fun to listen to.
   Later, I was able to find an uncut picture disc 7″, looking like a 12″ picture disc.
7. Irresistible Bitch
   B-side to Let’s Pretend We’re Married. Originally recorded soon after the Controversy release in late 1981, the initial version has a much rougher vocal plus being a organ-driven song. In this way, it would be a feasible The Time track, I always thought. The 1983 remake has more percussion, both live and the dry drum machines, along with bell-like keyboards and vocal backup by Wendy & Lisa. This version fits the bold arrangements of 1999 far better. Quite an enjoyable track actually. Whimsical lyrics, with a familiair Prince theme of a jilted lover who treats his woman well, but gets treated badly in return. Also a remarkable tune, as Prince is already nodding towards the then still-in-progress hip-hop here. The song was performed on the Purple Rain tour and can be seen played live in the Carrier Dome video/dvd.
8. Horny Toad
   Another fun track from the 1999 era. Released as a B-side to the Delirious single. Both tracks of this single are quite similar in rockabilly style (not unlike Jack U Off on the Controversy album), instrumentation and using sexual metaphors in the lyrics. Though in the track Delirious they were hidden enough to avoid censorship, the explicit lyrics in Horny Toad were interpreted as sadistic at the time and the source of some controversy. As with Irresistible Bitch, these two tracks separate them from the Prince catalogue up to that point: it was highly unlikely to pass the radio censors in 1983 with these kind of titles. Thus creating a buzz presumably anyway.
   In collecting the Prince catalogue, this 7″ was not one of the immediate purchases. Until I came across the UK poster-sleeve on a record-fair for the astronomic amount of €1. Oh well, maybe it’s time now …
   Noteworthy: one of the very few songs in the Prince catalogue, never to have been played live!
9. How Come U Don’t Call Me Anymore
   Fantastic heartfelt ballad, contradicting the energetic party theme of its A-side: 1999. A slow ballad of a romantic longing alongside some gospel elements, with matching vocals in his falsetto range. I am particularly fond of the very bluesy piano playing which the whole track is interspersed with. It complements the painful experience one could feel after a break-up quite good. An absolute classic in the Prince catalogue and played live on many occasions, despite being only a B-side. A fantastic extended live rendition can be found on the Carrier Dome dvd during the Purple Rain tour, with extra -very explicit- lyrics. When seeing this concert live in the night of March 30, 1985 I was just blown away by the energy, the dynamic, the unashamed lyrics, particularly on this track (amongst others). ‘Is he fine? Tell me, has he got an ass like mine?’ Simply marvellous, when realizing half the world is watching.
   In 2019 also released in a newly found extended take on the 1999 Super Deluxe Edition.
10. Rock And Roll Is Alive! (And It Lives In Minneapolis)
    Released as the B-side of the single Gold in late 1995. The song was recorded in direct response to Lenny Kravitz’s song Rock And Roll Is Dead, which had just been released, receiving some press coverage and resulting in the two artists working together on a number of occasions in the future.
    The song complements the rock-based Gold and features rousing guitar solos and live drumming as well as various studio tricks throughout the track. The chorus is a sample recorded from live audience chants at a show played at Paisley Park on September 9, 1995. The whole track has a very festive feel to it, which I like quite a bit. I’m a huge fan of the 1994/95 material. This track is not too distant from the NPG-track Get Wild.
    Posthumously released in April of 2019 (this time as an A-side though!) when a 7″ vinyl single was distributed to all attendees at the Minnesota Timberwolves NBA basketball game in Minneapolis. The single was paired with the track Calhoun Square as a B-side.
11. Clockin’ The Jizz
    Off the Gett Off maxi CD, I consider this to be just another rendition or extension or remix of that particular track. Thus, the reason I’m having some second thoughts about including it here. But since Gett Off is in my rock solid top 5 of favorite Prince tracks, what the heck, I am interjecting it here in this Top 15. Besides, it was allowed by the committee as a legitimate B-side.
    For those who don’t know what the title means: checkin the amount of time it takes U to start shooting. So, you are in need of a stopwatch and plenty of Kleenex to do it properly. A perfect match to the theme of the main track, so to say. Enjoying the Gett Off atmosphere in the background, I especially like its laid back jazzy feel, thanks to Eric Leeds on flute, Tommy Barbarella on keyboards (Purpleaxxe™ sampler) and delightful breezy vocals by Rosie Gaines. And foremost, no abundance of rapping by Tony M here … thank you, Jesus.
12. When Will We B Paid?
    Released in 2001 on CD as flipside to the Angie Stone’s duet Sunshine single. An independent release, destined to be heard by a small group of faithful fans only apparently. A slow, dramatic interpretation of the 1970 Staples song with hefty lyrics about the mistreatment and lack of appreciation for black people in the USA. While not often addressed in his work, he certainly wasn’t blind to America’s racial divide. The track was present on an early configuration on the otherwise never released High project in the summer of 2000, which would suggest it was recorded in late 1999. With that in mind, and Prince still being in a TAFKAP vein, it could be considered a conveyance for the growing grievance he expressed over previous years as an artist who felt cheated by the record industry. I actually never considered this to be a tucked away B-side as it is far superior to U Make My Sun Shine, but hey … with the freakish guitar solo at the end to emphasize the theme at hand, it is one of the reasons for it to be present in this list.
13. Gotta Stop (Messin’ About)
    After putting out his first three studio albums, with some people still getting used to his latest submission Dirty Mind, Prince offered the earliest hint that his boundless creativity couldn’t be constrained anymore. Coinciding with his debut live in Europe, he decided to put out a UK only release in May 1981 of the non-album single Gotta Stop Messin ‘About, a left-over from the Dirty Mind sessions. Perhaps only Prince at the time would think a song about voyeurism and compulsive masturbation was just the thing to break him in the UK. Never released as a single in other territories, certainly not in the USA, it unsurprisingly wasn’t a hit. But that’s no reflection on its thrilling, wildly distinctive staccato funk, with a sharp new-wave edge, much similar to a Dirty Mind fashion. The song is keyboard dominated, with lyrics speaking of a woman who’s constantly “messin’ about” with other men. Generally regarded as a B-side to the later released single Let’s Work, this playful tune deserves a spot in this top 15.
14. Another Lonely Christmas
    Released as the B-side to I Would Die 4 U in late 1984, this track is considered to be the only festive season related track by Prince. He has always insisted the track is a fictional story. I have always found it to be a somewhat disorienting tune. Piano and organ play in sync, but an overdriven guitar is laid down on the tracks and Prince’s voice is mixed just above the instruments. It all comes across to me as very loud, a little distorted. Perhaps resembling in what way the suffering subject of the song is encountering his surroundings in these sad moments?
    The track is a melancholy account of a man mourning his lover, all about memory and missing someone, and a rush back to a happier time; then we find out that his lover has died, seven Christmases previous, of some kind of illness, though it is painfully unclear which it was exactly. What’s more, he marks the occasion every year by drowning his sorrows with drinking banana daiquiris ’til he’s blind. Towards the end of the song, Prince rips a nasty guitar solo; also here, it’s lower in the mix than one might want it to be, but it’s there, and it cooks.
    Played live only once (!) on December 26, 1984 during the Purple Rain tour.
15. Silver Tongue
    To me, this is a soothing ballad with quite some remarkable vocal acrobacy which wouldn’t have been out of place on the One Nite Alone… piano CD (2002). Sounds like an angel stroking one’s ears. Released as a virtual B-side to Call My Name, a single drawn from the 2004 Musicology CD. Lyrics written by Nikka Costa.

Considered for possible inclusion in an initial Top 25. In order of like-ability, here is the bubbling under section:

• She’s Always In My Hair
  Plucked from the Around The World In A Day sessions for a B-side to the 1985 single release of Paisley Park. The Around The World In A Day LP consists of mind boggling tracks, often referred to as Prince’s Sgt Pepper. I am a huge fan of this era in Prince’s career. Definitely set on no acid colored rain, part 2 and I loved every minute of it. On a sadder note, this is also reflected in the B-sides of that era, unfortunately in this case. The material on the Around The World In A Day album is superb and adventurous but in my opinion, the B-sides absolutely do not mirror that same vibe. Of which She’s Always In My Hair can be considered as the better of the three, the other ones being Hello and Girl. I am not particularly fond of them. Besides that, there’s too obvious a resemblance to the Apollonia material as well. Not directly a miss, but still …. starting off strong, it is unable to keep the momentum going.
  She’s Always In My Hair immortalized another of Prince’s many proteges – this time, singer and actress Jill Jones. Prince had a lot of affection for her being ‘always in his hair’. She was always there, telling him how much she cared.
• Horny Pony
  An obvious pursuit to get a new dance off the ground, tried already earlier in the album version of Alphabet St. in 1988. Though cheerful and funky in places, in comparison to Gett Off it is thoroughly underwhelming. There I was, wondering for many years, what exact moves the dance would consist of, doing a horny pony when dancing in a club. So, if you wanna see in what way the dance should be executed, watch a superb live performance of this track at the Rock in Rio concert of 1991. With loads of ass-shaking, so viewing is at your own risk.
  A rap song replaced at the last minute by Gett Off, and originally slated for inclusion on his 1991 album Diamonds And Pearls, but still gave it a release as the b-side to the far superior Gett Off (or as flip to Cream). However, Prince had previously included Horny Pony into his rap on the track Push which references nearly all of the record other song titles. In an apparent attempt to explain all this, the CD’s back cover still has the Horny Pony title printed in red ink over Gett Off in the track listing.
• 200 Balloons
  Basically the prototype to Batdance, which began as a sample-laden remix, serving as the musical blueprint for the main portion of Batdance. Containing the same chaotic, mechanical dance beat as its counterpart on the A-side. Interesting that the unreleased track Dance With The Devil was the original considered song for the movie, which Prince felt was too dark. This is a fun enough tune, though not as dynamic as Batdance in my opinion; I miss the guitar solo terribly here. Moreover, nowadays I am getting rather fed-up quite quickly (generally speaking) with those 80/90’s tunes with an abundance of samples in ’em. I find it thoroughly distracting and tiresome. Though the sampling fits this particular track … mwoah, still I am not dazzled.
• Alexa De Paris
  The B-side to Mountains. An instrumental and one of the few tracks from the Parade era featuring a guitar solo. Does have some resemblance to God (Instrumental) I always thought. Not a particular outstanding track in my book. Its somewhat bombastic ambience does fit Mountains, but far inferior nonetheless.
• Scarlet Pussy
  Yet another track credited to Prince’s alter-ego Camille; besides the speeded up vocals, strangely enough a slowed-down vocal is used as well this time, similar to Bob George from the Black Album. The lyrics are very sexual, using metaphors of cats and dogs for sexual organs, a theme previously used for the B-side La, La, La, He, He, Hee. Noteworthy here is the decision to include such a raunchy song with the quite spiritual A-side I Wish U Heaven. Maybe the idea was to resonate the good and evil here, also used in the Lovesexy tour. A funny & funky little track alright, but nothing too brilliant. Fun fact: the 12″ label does not state 33 or 45 rpm; so if played either way, it will sounds like a totally different but ok funky song.
• Sex
  Only released as the B-side on the maxi-single CD/12″ of the 19-minute The Scandalous Sex Suite. Subtitled: “the ’80s are over and the time has come 4 monogamy and trust” … meant as a response to the AIDS-crises maybe? The track is fairly sparkling, not all that remarkable though. It certainly does not keep my attention going for 7 minutes. Later remixed for Lois Lane.

And thus remaining …

• God
• God (Instrumental)
• Hello
• Girl
• Escape
• I Love U In Me
• 2 Whomever It May Concern
• Magnificent
• The United States Of Division

… getting (close to) zero excitement from these tracks.