Social Icons

N*E*W*S

Showing posts with label Susannah Melvoin. Show all posts
Showing posts with label Susannah Melvoin. Show all posts

23 April 2016

Forever in My Life: The Final Post


At the Chanhassen Inn before the Piano & a Microphone Gala at Paisley Park

Prince Rogers Nelson changed my life.
Although I did not become a fan until I was a teenager, his music had always been in the background of my everyday life: I heard his music on the radio, Purple Rain was often on TV and I used to go through my mother’s record collection and look at her 12” Purple Rain single on vinyl (that was actually purple and I later had it made into a purse). But, it wasn’t until my best friend, Kamika Wallace, bought the Purple Rain Soundtrack from Columbia House CD club (when you could get 12 CDs for $0.01). We played the shit out of that CD, especially “The Beautiful Ones,” “Computer Blue”,” Darling Nikki” and, of course, “Purple Rain.” But, I went a step further and bought The Hits/The B-Sides and that changed everything.The first full-length album that I bought after that was Prince (1979) and from there I was hooked. Little did I know that Prince's songs would take me on an 18-year musical odyssey that suddenly came to a halt when he died on April 21.


The Stats
Fan since: 1998
Favorite Song: Moonbeam Levels
Favorite Album: The Gold Experience
Least Favorite Song: Sometimes it Snows in April. I always thought that song was super depressing…now I know why.
Least Favorite Album: Batman Soundtrack…I tried though.
Favorite Lyric: “Damned if I don’t hit that, wait right there I’ll be right back.”
What I’ll miss the most: no more live shows.

The Beginning
As corny as it might sound, listening to Prince’s music made me feel like it was okay to be different. I’ve always been a person who marched to my own drummer and was always super juiced about stuff that most people found boring. My interests ran the gamut from classic movies (including silent ones), old TV sitcoms (shout out to "Bosom Buddies" and "The Facts of Life") and old show business biographies. I guess I was trying really hard to stand out, which is difficult when you attend a performing arts high school, but I did. Yet, Prince’s music spoke to me; it connected with something deep down in my soul.  His lyrics communicated my individuality to others in a way that I could not. By announcing myself a Prince aficionado (not a fan, mind you, as I researched The Purple One and his music like I was trying to earn a degree), I let the world know that I was daring not to downgrade myself to the musical tastes of my peers. You would never hear Jennifer Lopez, Britney Spears, The Backstreet Boys, Sisqo, DMX or anyone of that ilk in my Discman.
This might seem like a no brainer now, but I became a Prince fan when I was 15, in 1998, and Prince was not really considered universally cool at that time. Don’t get me wrong, people respected his talent and musicianship, but I think there were many who felt his time had passed. Besides, a lot of people felt it was hard to take a man seriously who legally changed his name to an unpronounceable symbol. But, what did they know? I was fiercely loyal to this man who had touched me—to the point of driving my friends and family crazy. I did find one kindred spirit at school, Donald, whom I had known in middle school. He was kind of a loner, but he genuinely liked Prince just as much as I did. I remember he gave me a birthday card where he wrote out the lyrics to Nothing Compares 2 U and he even gave me his mom’s old Controversy poster, (the one where Prince is in the shower in his bikini underwear with a crucifix in the background) which I still have to this day. I tried to integrate Prince’s music into every aspect of my life: I did a presentation on The Time in my music survey class, I tried desperately to get someone to decorate my high school graduation  gown so it said “Lovesexy” down the right sleeve (and failed) and I used Prince lyrics as my high school yearbook quote. Later, there were times when I had to give Prince’s music a “break” and I gravitated toward other artists, especially during my first years of college, but Prince was always lurking in the background.

The Memories
While I was catching the bus to and from the University of Washington Thursday, I could only smile to myself as random memories kept popping into my head: I laughed when I thought about my friend who informed me that I blew out his car speakers when he let me play the Controversy album when we went out; I remembered how sad I was when my aunt and I went to visit Paisley Park during Prince: A Celebration in 2000 and we could not get inside because all the day tickets were sold out (and I almost started crying); I cringed when I remembered how I overdrew my bank account to buy my friend and I tickets to an aftershow that Prince did in Seattle in 2011…and ended up getting fired from my job two weeks later. I remember that I flew from Illinois to Minneapolis for the so-called "Purple Olympics" in July 2007, where Prince played three concerts in one day. Before I left, I told my editor at the Daily Herald, Mike Smith, that I was going and he spent a few minutes with me brainstorming on a way for me to cover the concert for the paper. Of course, we could not come up with a legit reason for a Suburban Chicago paper to cover a Prince concert in Minnesota...but we tried.

The Influences
Prince changed the way I listened to music; once I became a Prince fan, I became an album listener. When I started liking him, I was buying most of his catalogue at used music store--on tape mind you--and I was able to get albums for very cheap. On top of that, the bus ride to school was an hour and nobody was trying to sit on MUNI fast forwarding and rewinding a tape, so I just ended up listing to entire albums. Granted, there were still some songs that I skipped (sorry "Sometimes it Snows in April" and "When We’re Dancing Close and Slow" fans), but I listened to the albums all the way through at least once. From then on, I decided that if I was going to buy any album, especially those expensive CDs, there better be some quality music on at least 80 percent of the album.
Prince also influenced the type of music I listened to: I became more partial to singer/songwriter/producers. I also started to lean more toward R&B that had some rock elements to it; I became avid fans of Teena Marie, Babyface/The Deele, Klymaxx/Bernadette Cooper, DeBarge (who don’t get enough credit as talented songwriters), Switch (same as the former), Jesse Johnson and more recently Billy Joel, Duran Duran and Barry Manilow. I sought the music of powerhouse singers and entertainers like Barbra Streisand, Donna Summer and Michael Jackson/The Jacksons/Jermaine Jackson. This is not to mention all the associated artists albums and bootlegs that I purchased/borrowed/downloaded over the years. I would go as far to say that Prince made me enthusiastic about listening to music in general; and I didn’t just listen to it, I immersed myself in it, analyzed it, digested it and applied it to every emotional aspect of my life. The amount of song lyrics I have stored in my head today scares even me.






Stage at 2013 Billboard Music Awards



The Blog
 I like to say that Marcus Scott brought me out of retirement to start this blog. When he called me in 2012, I had not written anything professionally in more than three years and I was working in the hospitality industry. The Great Recession had shot down my dreams of being an entertainment reporter and I was still a little bitter that my life had not turned out the way I wanted. Marcus said he was starting a new Prince group, Beautiful Nights, that would have a presence on Facebook and throw Prince parties in the Chicago area. He wanted it to have an accompanying blog and he wanted me to be the exclusive writer. He told me that I had to do this and he thought of me after coming across some newspaper clips I had randomly mailed him a few years before; to sweeten the deal, he told me that he would even be able to hook me up with an interview with The Twinz (Maya and Nandy McClean, Prince’s former backup singers/dancers). I figured I did not have anything to lose so I said yes.  Besides, how do you turn down someone who has that much faith in you? I had limited knowledge about blogging and digital media, but I just had to fake it until I could make it.
My first interview actually ended up being with him, talking about his past as a Prince impersonator and the Beautiful Nights group. The page views came in a trickle at first—even the later interview with The Twinz was not really widely read. Things picked up when I posted a video interview with Seattle-based artist Troy Gua (who created Le Petit Prince), but it was not until I started sharing my interviews on Prince.org (shout out) that I started getting a lot more traffic. Things only picked up from there, with the popular interviews garnering several thousand page views. I got to the chance to interview (and be interviewed by) the infamous C.J. and she also featured me in her Minneapolis Star Tribune column twice. I remember the thrill I felt when talking to Susannah Melvoin on the telephone and her suggesting that we get together for lunch to do the interview; that was before she realized I lived in Seattle and she lived in California. I also enjoyed doing simpler stories where I talked to avid fans: like the four-part "My Love is Forever" series, where I collected anecdotes from people who had been Prince fans since he released his first album in 1978; and talking to Jesse Jenkins, a young fan who was handpicked by Prince to premiere the single “Live Out Loud” and was later personally invited by Prince to attend his SXSW performance and meet him after the show. I remember St. Paul Peterson and Jill Jones being hilarious and Cat Glover being so open and full of energy. My favorite interview, however, was the one I did with T.C. Ellis and getting to hear about the High School for Recording Arts, which he founded in St. Paul. Another thing that was awe inspiring was the fact that there were other Prince fans who wanted me to succeed and volunteered to help me. I would be remiss if I did not mention-- in addition to Marcus-- Tamiko Umoren, Duane Tudahl, Morris Mills and Erica Thompson—who all helped me procure interviews with people who once worked with Prince.
I stopped writing on this blog about a year and a half ago when I went back to school.  It was not because I didn’t love doing it anymore, but trying to procure, schedule and do the interviews (as well as transcribing the audio and actually writing the stories) just became too time consuming. In fact,  the last interview I posted with Howard Bloom in 2014 took me more than a month to complete. In the interim I have received a second Bachelor’s Degree and I am now working on a Master’s Degree. But, I regularly check the stats on the page, clicking through old stories and wondering what might have been if I had been able to continue on. When Prince passed away, however, I finally realized how pointless it is to reflect on what might have been when I could clearly see what I had actually accomplished: I convinced my friend, Elke Hautala, to take a road trip to Boise, ID to do a video interview with Gayle Chapman, which in turn led to us organizing a concert for her in Seattle six months later. I also got to write review when Prince's Live Out Loud Tour with 3rd Eye Girl came to Seattle and I was in the house at the MGM Grand in Las Vegas when he was honored at the Billboard Music Awards. Furthermore, I was told by a good source that Prince actually read one of the stories on my blog. To think that this man, whose poster I use to stare at in my bedroom as a teenager and dream about meeting one day, was actually aware of something that I had done was incredible. I’m not sure if it is true or not, but it’s a nice thought. I have been coming back to the Web site regularly the past couple of days, as I was preparing this story. It went from 75 page views on Wednesday to more than 4,400 views Thursday. It is interesting to see that people are actually reading it again, but I would trade all those views if it would bring Prince back.




 The Music
It’s funny how certain songs can take you back to a specific moment in time: Every time I hear "Moonbeam Levels," I’m back in my old car in Sonora, CA and still a newspaper reporter driving from the office to an interview for some story or other (like when I covered the theatrical group at a state prison in Jamestown, CA or was it that thrilling story I wrote about the many uses for zucchini?); when I hear “The Most Beautiful Girl in the World,” I think about the morning after I slept with this guy I used to really like and he sang this song to me—and in case you were wondering, the falsetto was on point; the entire Planet Earth album transports me right back to the Western Suburbs of Chicago, particularly St. Charles, IL. It was my first time away from home and I had just moved there to do an internship at the now defunct Kane County Bureau of the Daily Herald. I remember driving to the Super Target near the office when that bad boy opened at 7 a.m., so I could be one of the first people to have the album when it was released.
I still remember when Kamika and I went to massive Amoeba Records in San Francisco on a Prince album dig and I found The Black Album on tape. We were still rocking our Walkmans then, but top of the line ones that actually had rewind buttons on them. We had this thing where we would each listen to a Prince album on the way home and report back to each other what the jams were on it. She picked the Black Album and, to this day, every time I listen to the “Bob George,” I can picture her on the bus, nodding her head, and pausing the tape to tell me after the song was over that this joint was the “new Erotic City” (what she really meant was that the song was hella funky). She turned me on to some gems: “Bambi,” “Eye Hate U” and she even tried to get me to like “Into the Light” from the often-maligned Chaos and Disorder album (but it took another ten or so years for that to happen). When I hear “Betcha By Golly Wow” or “Purple Rain,” I remember that we used to carry around an analog tape recorder and we used to make copies of us singing Prince songs with her throwing in spontaneous ad-libs—the best being on “Purple Rain” where she said “Never wanted to be your weekend lover, I only wanted to be your lover during the week.” When I hear “Sexy MF,” I remember the time one of my relatives let me play my Hits Volume II CD while they were setting up at a family barbecue and when the chorus of the song came on my cousin got incensed and demanded that I turn it off because of the cursing (despite the fact that the song "Head" had just finished playing not long before and no one said a word). Lastly, I remember that the very first CD I played in the studio apartment I live in now was LotusFlow3r and how proud I felt at that moment that I finally had my own place in Downtown Seattle.





The Gifts

             Over the years I have received some cherished Prince-related gifts from friends:
The first one is a framed charcoal drawing of Prince that a friend of mine drew for me andwas           a gift on my 29th birthday. What really made it so cool was that he gave it to me right before               we went to go see a Prince concert at the Tacoma Dome in December 2011.
      
The summer I did my internship at the Daily Herald in 2007 was the same year that the Chicago Bears went to the Super Bowl and Prince did the halftime show. The paper, of course, sent writers and photographers down to Miami. My going away present at the end of my stint there was two framed photographs that Rick, the bureau photo editor, had taken himself during the halftime show. One was Prince by himself and the other was him with The Twinz.
  
My grandmother's late second husband, Errol, worked as a banquet waiter in some of San Francisco's best hotels for many years. In the early 1990s, when he was working at the Clift Hotel, Prince came to town on a tour. When I was in high school (around 1998), at the height of my Prince madness, he gave me this very small jar of honey that had a black label with gold letters that said: “Prince, Scandalous Sex Suite, featuring Kim Basinger.” Errol later told me that someone working with Prince had given it to him. He had kept it on his dresser all that time until he gave it to me. I had it on my dresser from that moment all the way through college, when I left home to accept the internship. I left that jar of honey behind and have not seen it since. In my Mother’s haste to clean out my old room-- so my younger brother could move in-- a LOT of things came up missing and that was one of them. When I came home three months later to get my things, I could not find it. I asked her about it and she acted like she had no clue what I was talking about. I eventually forgave her and moved on, but, I am getting a small twinge of sadness just writing about it now.
    
When I was in high school, my friend and classmate, Salvador Santana gave me a purple hand towel emblazoned with gold symbols; he said that his father, Carlos, had gotten it directly from Prince. I loved this towel and it has hung on the wall in every apartment I have lived in since then. I just recently bought a frame for it, as I did not think it was getting the reverence it deserved.



Marcus Scott and I at a Morris Day and the Time concert


The Friends
There are so many people I would not have met, but for being Prince fan. There are way too many to name, but these are some of the most important people:

  • I met Natasha White-Smallwood in 1999, when I was 17 years old and we were both working at Old Navy in San Francisco. She saw me in the break room one afternoon reading Dance Music Sex Romance: The First Decade by Per Nilsen. She rushed over to me and wanted to know where I bought the book. We started talking about Prince and the rest is history; she has become one of my best friends over the last 17 years and the first person I called when I found out about Prince.
  • I met Marcus Scott at a party thrown by Mone Baker in 2007 in Chicago. This is when I was living in Aurora, IL and working at the Daily Herald. I got invited to the party because a mutual friend who was living in California was connected to the Chicago Prince Crew that attended the now-defunct monthly Prince parties that were held at Club Berlin. I stayed in touch with Marcus over the years—on and off—which inevitably lead up to him pitching the blog idea to me. Mone is the one who actually invited me to move up to Seattle from San Francisco and I stayed with her until I got on my feet. Needless to say, that move changed the course of my life. 
  • I also got to spend some casual time with some of the people I interviewed and talk to them about topics other than their work with Prince. I spent an entire weekend with Gayle Chapman, when she came to Seattle for the concert Elke and I organized for her. I also got to be photographed by the fabulous Steve Parke when I took a trip to Baltimore. They were both very wonderful experiences. 



The concerts
I saw Prince in concert 17 times-- the first time at the University of Minnesota, Minneapolis when I was 17 years old. We just got barely got there, as the concert tickets went on sale in Central Time and my stupid alarm did not go off, resulting me waking up 30 minutes late. I got my aunt and I two tickets in the very last row (I used to always say that if we had been any further back we would have been outside). But, we were there. My favorite concert experience took place when I made the trek to the Rio in Las Vegas when Prince was doing the 3121 residency at the hotel. I went four times, the first time with my ex-boyfriend, whom I had to beg to go with me for my birthday; but, the second time I went alone and I since it was a GA show, I got there six hours early to make sure I got a good spot.
I ended up right in front of the stage! I was very enthusiastic and of course I knew the words to all the songs. Let me just say that there was no moment more thrilling than when, during the show, Prince reached down and grabbed both my hands, sort of dancing with me from the stage. I’m pretty sure I momentarily lost all sense of reason because the next thing I knew I had climbed onstage. Luckily, he did not have security to come tackle me or have me ejected from the venue, so I guess it was okay; and for two or three magical minutes it was just me and Prince dancing together onstage. I’m sure it was a curious sight—me at 6’2” and Prince nearly a foot shorter--doing the Bump. But, being in that close proximity to Prince is surely a moment that I will never forget.
Immediately after that concert he did an aftershow at the 3121 Jazz Cuisine, a fine dining restaurant that was part of the 3121 experience. Since it was January, pretty much everyone was able to get into the “Jazz Room” an intimate part of the restaurant that only seated about 50 people. I remember that while his band played a set, he came out to the seated area and handed out a Jehovah’s Witness publication (I think it may have been Awake! Magazine, but I’m not sure). It was so interesting to see Prince proselytizing (or witnessing) at this own show. Then about an hour later, he was fronting the band and played a funky set for us, right there in that small room. It was a surreal experience and, honestly, I never told anyone about it, because I was not sure if people would believe me. I went to another concert the very next night and I was in the front again, but I stood at a different spot near the stage. Yet, at one point during the show, he came over to where I was, playing the guitar, smiled and gave me “the nod.” I remember being so happy that he actually remembered me. I saw at least ten more concerts after that, but none of them compared to the feelings I had from those two that weekend.



The Last Time
I did get to see Prince one last time at the Piano & a Microphone Gala Event at Paisley Park in January. I almost didn’t go, as it was only announced a few weeks beforehand and I had just plunked down an ungodly sum of money on a trip to New Orleans and a Platinum Ticket for a meet and greet with Barry Manilow and front row seats at his show. But, at the end of last year, I had decided that going to Paisley Park was on my bucket list and, after that debacle in 2000, I was definitely going to make it happen in 2016. When the show was announced, I inquired to see if my co-worker would switch her days off with me and she said she would, no problem. I booked the hotel and the flight, but a week later, I got cold feet, worried that I was spending way too much money, and cancelled them. However, when a video released online showing how they were remodeling Paisley Park for the big event, I had a charge of heart, fearful that I would be missing something special. So, I rebooked the hotel and flight (thank God for Southwest Airlines) and, when the tickets went on sale I was able to get one with ease, which as my fellow die-hard Prince fans know was not always the case, so I knew this trip was meant to be.
The trip to Minnesota was a bit stressful, but once I got there, I knew I made the right decision. Even up to that night I was still a little anxious, even more so with the confusion trying to get into Paisley Park for the second show at 10 p.m. Once I got inside, most of the people in VIP had already been there for the first show, so they had claimed their spots. The floor immediately in front of the stage was strewn with pillows, but there was no open spot for me to sit down. Finally, I just decided that I would sit on the floor. There was kind British gentleman sitting on a pillow next to the spot I had chosen and moved over a bit to give me room, inviting me to sit down.
I sat in front of the edge of stage right, but since Prince was playing a grand piano and not moving about the stage, it was hard to see him unless I was standing up. But, it didn’t matter. It was only important that I was able to hear him. It was wonderful to hear him play “The Ladder,” the beautifully spiritual ballad that I never thought I would hear live. I just took advantage of the moment, sitting in the dark on the floor—by this time I had a pillow—with no lighting except from the back screen and a few lit candles on the stage. I just closed my eyes and let myself be in the moment, quietly singing the lyrics from a long-ago Prince favorite to myself. Despite the fact that I was at a concert, I felt myself transported back in time, laying in my bed in the dark, listening to the Around the World in a Day album with one lit candle. It was surreal. But, Prince also had a way of mixing it up, so he alternately had us stand up while he jammed on "Kiss" and "I Wanna Be Your Lover." Granted, I did miss some of the most talked-about moments of the evening (like when he became overcome with emotion at one point in the evening and briefly left the stage) because of where I was sitting. But, I was just so happy to be in the house, after being turned away years earlier, that it didn’t matter. The night flew by so fast and I was a bit disappointed that he didn’t do an encore, but once I got back to the hotel, at nearly 2 a.m., I remembered that I was getting old and I had to fly back to Seattle the following day and work the graveyard shift once I got back home. So, although I did want more, I was grateful that Prince made it possible for me to get a full night’s sleep. I woke up glowing and got excited at that the thought that he might bring this tour on the road so I could see it again. There was no way I could have known that was the last time I was ever going to see him. I can only hope that one day I will inspire others as much as Prince inspired me.


Stay Beautiful, always, Kristi


18 April 2013

Miss Understood: An In-Depth Interview with Susannah Melvoin




  





  Music has always been a family affair for Susannah Melvoin.
  The singer/songwriter comes from a musical dynasty: Her late father Michael Melvoin was a jazz musician, arranger and composer who worked with artists such as Frank Sinatra, Barbara Streisand, The Beach Boys and The Jackson 5, to name a few; her twin sister Wendy Melvoin, was a guitar player for Prince and The Revolution and later formed the duo Wendy & Lisa, with Lisa Coleman, who played keyboards for Prince, and her late brother Jonathan Melvoin, also an accomplished musician, worked with Prince, Wendy & Lisa and The Smashing Pumpkins.
  She is best known as the co-lead singer of fDeluxe (formerly known as The Family) who released their first self-titled album in 1985. The record featured the hit “The Screams of Passion” and introduced the song "Nothing Compares 2 U," which was famously covered by Sinead O'Connor in 1990. The band was made up of artists working in Prince's camp at the time: Melvoin, “St." Paul Peterson, Jellybean Johnson, Jerome Benton (who were all members of The Time) and Eric Leeds. The album, which is currently out of print, is a much sought after collector's item and it is considered by many Prince fans to be one of the artist's most ambitious associated artist projects.
  The band broke up about a year later and a planned second album never materialized. However, after two brief reunions, one for a charity show hosted by Sheila E. and a second at a post-Grammy party hosted by ?uestlove of The Roots, they officially reunited in 2011. The group released its second album, “Gaslight," and have been performing around the world, including a performance at the famed Carnegie Hall in February, according to the group's Facebook page.
  Melvoin has also appeared on dozens of songs recorded by Prince and associated artists, including “Rock Hard in a Funky Place,” “It's Gonna Be a Beautiful Night” and “Anotherloverholenyohead,” among many others. She has also inspired other songs written by Prince.
    Furthermore, she has worked with countless other artists including Seal, Madonna, Eric Clapton, Quincy Jones and Doyle Bramhall II, whom she later married.
    Dyes Got the Answers 2 Ur ?s recently conducted an interview with Melvoin where she discussed fDeluxe, how she started working for Prince and designing  covers for the unreleased Dream Factory album:

  Growing up in a musical family, it's hard to say that I know anything else, because, I never went to college. I was incredibly fortunate to live in a house where music was on or being played all day. I was amazed when I would go to (other) people's homes or I would be in their cars and nobody was listening to music... It was just completely anathema to how I was brought up...
  Looking back, there are musical periods that have complete meaning to me, (because) they were scoring what was going on in my young life. So, music had a huge impact on me. 
    In the 1800s, a cobbler might raise his son to also be a cobbler, because, that's what he knows. (Music) is what I know and I'm fortunate enough to love it as much as I do. I'm blessed in that way, but, I'm kind of cursed at the same time, if I ever have to get a job.

   
Being a twin is the best joy. (Wendy) is my best friend in the whole world and my climbing ivy. I've always felt that I had the best friend  (and) the best sister. Any kind of relationship you could fantasize about being perfect... that's what being a twin is like for me. Even the bumps and the bruises within our life together have always been sorted out. But, they are sorted out in the way that you would hope they would be... All has been worked out and everything has been resolved. It's on to the next: no grudges, no competition, no throwing things at each other's faces... I'm really lucky.
  I still have her as my best friend, sister, wife, mother --any role that we need each other to be in... If you're the kind of twins that my sister and I are—so, so close—it's very much like a mother and her newborn. It's so symbiotic and so emphatic. That's good news if you're a mom and a baby. But, obviously there comes a time in life, and it has in certain relationships, where people thought that we were too close. They thought there was no room for them, when we really never felt that way.
  We felt we had the capacity to have really full relationships, because, we learned with each other. But, it's not really easy for others to see it that way. Wendy and I... speak freely and sometimes we can speak too freely with others. That's not always how it should be. But, being a twin has always been a joyous thing for me. I'm the luckiest person in the world. It has its absolute joys and then it has its crosses to bear.
  She's the coolest person in the world. I  think that she's amazing in every way. I've never been jealous of her (and) she's never been jealous of me. I've always championed her and I know she feels the same way about me. That's kind of unusual for a lot of relationships...So, it's great being a twin. I wouldn't want it any other way.

  I've always wanted...that's a loaded question. I think the first thing that comes up is that I've always wanted love in my life -- deep, meaningful love. I suppose that has its own layers in it. It's the umbrella in which everything underneath it exists.

  Singing makes me feel incredibly insecure and powerful, all at the same time. You let it all out and sometimes you get to the moment when you become fully aware that you actually sang and you say, “Oh my god, did anyone see me or hear me do that?”
  I love it and I'm really petrified of it, all at the same time. But, I love it. I know no other.

  When I write songs, I'm at my most self critical. Songwriting is not easy for me, because, I have to know exactly how to say something... So, for instance, a lyric could be as simple as “baby, I love you,” but, I've probably thought about that “baby, I love you” in such a way that it had to be sung right. It had to be right for how it was going to move itself into the next line, for how it would make me envision things and how it would become fully realized.
  I have to be incredibly focused (and) by myself for a long while before I put it on paper. Then, once I've started to put it on paper, I realize I've actually done this really sort of internal experience with it and then written it (to where) it becomes more pragmatic. Then, I put the puzzle together.
  It could be incredibly simple to the listener and maybe that's exactly how I meant it to be. But, there's depth to the meaning, because, of how I set it up and how I resolved it.

  People often ask me what was Prince like or how it feels to be a twin.

  When I auditioned for Quincy Jones, I didn't audition in front of him. I sent him a tape of an Aretha Franklin track (“Until You Come Back to Me”) that I had recorded with a friend of mine in his studio. I was just 19, maybe not even 19 yet, and I got the call. (Jones) called my father, who told me “You got the gig!” and I was like “What?!” There were only six of us who made it out of a 1,000 people who auditioned and I was the only white girl. I never felt more proud in my entire life. I was like “Yes, yes, yes! I am a sister!”
  (Jones) had known my father for years...They knew each other in the early 1950s and then they started playing together in the 1960s and 1970s in Los Angeles. They had always been close.
  There was a vocal contractor that worked with (Jones) who was at my father's house and that's how I found out about it.  I had just graduated from high school and I was visiting my dad. He said, “Oh by the way, Tom is actually looking for vocalists for this a cappella group that (Jones) is putting together. I think you should try out for it.” I said okay and that's how that happened. It came from my father getting the call and also Tom being there talking on behalf of (Jones). It was kind of like a family thing...



  I started working for Prince when I was 19. He had been spending a lot of time at my house, because, Wendy, Lisa and I were roommates. After high school, we always lived together. Lisa had gotten the gig with Prince and, when he would come into town, he would stay with us.
  I was really young, right out of high school, and I was working for David Geffen as the receptionist at (Geffen Records). I had just done the audition for (Jones) and Wendy wanted to play Prince my demo of the Aretha Franklin track. All I could say was “Please don't play it for him. Oh my God!”
  I went into my bedroom. It was 500 square feet, so, the bedroom wasn't very far from the kitchen. They were all sitting at the kitchen table listening to my track. Then the next thing I knew, Prince said “Why don't you come work with us? You should be with our group of people and you know this is where you belong.” I said " You know you're absolutely right.”
  So, Prince and I had a long conversation at that point and I said, “You know I'm working with (Jones) right now. It was hard to get this this gig.”
  The next thing I knew, I'm calling (Jones) in the middle of the night. I said, “I just can't sleep, I don't know what to do. I was offered a gig working with Prince. I kind of want to do it, my sister's there, my best friend who I grew up with (is there)...”
  Long story short, he said, “How could you not want to do that? Go, baby. If you can't sleep at night and that's where you need to be, you need to be there. Don't think twice about it.” So, I got his graces.
  From then on, I started working (for Prince), singing backup and being called in to sing on this or that track. I was singing on a couple tracks for the Apollonia 6 record when they were filming “Purple Rain.” 

  Susannah Melvoin on Prince songs that she inspired: The infamous “Wally,” which no one heard because he destroyed the tape. There's a huge story behind that. “Strange Relationship;” “Nothing Compares 2 U;” In a Large Room with No Light;” “If I was Your Girlfriend.” God, you know there's more and I can't remember...

  My band mates are my big brothers. We couldn't be more different. We are such different personalities and it all goes perfectly together. It's a crazy gumbo.
   I'm like their punk-rock girlfriend. I make such trouble. I'm literally like the girl where they say “Where's Susannah? Where is she? What's she doing?”
  I say “I'm here, I'm not doing anything.” I always think I'm like the innocent one and they say, “You're a pain in the ass” and I say, “I am not!”
  I love them, though. But, they don't carry my luggage very often and I hate them for that. They leave it up to me to pack the van.

  “The Screams of Passion” music video is hard for me to remember... I was so young and I was inexperienced with that kind of thing. We had been in rehearsals for such a long time to go on the road. We were rehearsing for a year before we went and did our first gig.
  Doing the music video was just part of the rehearsal thing, (because), we were in work mode. I saw it only as a job, but, not a job where I said, “Oh, this is a pain in the ass to do and I wish I was home by 5 p.m.” No. It was all part of what we were working on at the time. It was sort of a package deal in terms of how I felt about it. It was just part of the plan.
  I remember not having any expectations. Prince let us do a lot, too. There's a lot of people who think, that we, as The Family, didn't have any influence. But, that's not the case. He was there for part of the video, but, he wasn't really there (all the time). He wasn't the little guy dictator in the background saying “No, they can't do this or this is how it should be.” It wasn't like that. We had done pre-production for such a long time. We had fun, but, I wouldn't say that we were in heaven about it. It just wasn't like that. My memory of it was just working really hard. That's what I remember about it.

  fDeluxe's look was inspired by film noir. It was inspired by mid-to- late 1940s noir films with smoking jackets, fast dialogue and black-and-white glamour.
  It was Prince's concept to put us together. The reason (the band) was (previously) called The Family was, because, we had all been working within the Prince organization: I was the staff singer; (Peterson) was the keyboard player for The Time; (Johnson) was the drummer for The Time and (Leeds) was a horn player for Prince.
  When the Time disbanded, we all felt bad, because, they were a bad-ass band. But, everybody wanted to play and Prince wanted to hear people play. He was also in a place where he was fertile with music. He said, “We're like a big family here... I'm going to get (Peterson), because, people don't realize what a bad-ass singer he is. You guys will be the lead singers in the band. We're gonna do this, we're gonna play together. How about that?”
  He wanted to sell records and he believed this band was going to be the way to do it. We were the first band that he put together and produced with the idea that "this is going to do something." It wasn't a fly-by-night project. It had weight to him and to us.

  The 1985 First Avenue Concert...we had the best time. It was great. I mean I look at it now--because, I have looked at it-- and I said “Oh my god!” It's amazing what young kids we were and we just kind of went for it. We were like crazy puppies on stage. It was a lot of fun and the house was sold out. We worked really frickin' hard for that show to get out there and do that... It's great seeing it. I laugh a lot when I watch it. I can't even believe that's me! My favorite moment was singing “Nothing Compares 2 U.” It was just a great moment to sing with (Peterson). It still is for us when we sing it.



  It all changed for fDeluxe when (Peterson) decided he wanted to have a solo career. It was understandable, because, none of us got paid enough money and he had a family. He needed to support his family and it was kind of difficult.
  As “hired guns” we got paid weekly. We got paychecks and it wasn't a lot of money. No joke. I mean, it's embarrassing. But, when we were that young, it was for the love of the music. I didn't have a family, so, I wasn't worried about the kids, the mortgage or anything like that. I was along for the ride. But, it was a really long time before anyone – and it wasn't with the Prince organization-- made money.


  Susannah Melvoin on designing the Dream Factory album cover: Prince and I used to draw together. He was actually a really great artist. I was really into it, too. I would always have a pad and I was always drawing. I've been drawing since I was a kid. We would sit down and we would draw together. One particular night he couldn't come up with an album cover (for Dream Factory). I came up with a couple of different ones.  One of them was actually a dramatized version of myself, opening up a door into this dream world, with images that were based on some of the songs. I remember that there was a lot of white space, because, I couldn't fill up the background with color... Everything was kind of drawn onto white paper. But, the doors were very ornate and I'm opening the door into the Dream Factory.  The second album cover didn't have me on it. It just had the name Dream Factory, with some things hanging off the words.  I used to do murals in the house where Prince lived, incredible, crazy murals that he would ask me to paint. We were always into doing stuff like that.

  Humor... Oh my god, if there is no humor, I'd rather stick a hot poker in my eye and pass away. I have no reason to do anything if I'm not laughing. That's where I'm not joking. I have to laugh and I have to continue to laugh. If the laughter stops, I'm done. If the laughing stops, that means the fat lady sang and we're done. That's the beauty of being in my band with these guys, they're the funniest people you have ever met. 

  I'm always surprised by racism, bigotry and war mongering.

  My musical influences, this is a hard one. I had so many life experiences with different artists. When I was a really little girl, the biggest influences-- where I would put on the records  and try to sing that way—were Aretha Franklin, Stevie Wonder and Joni Mitchell. That was always a given for me. That was really, really early on. Those were the records that I had in the house, because, of my parents.
  I would say after I turned 8 years old, I started getting into other listening experiences. But, the Aretha Franklin and Joni Mitchell records were the ones I sang to, that the words meant something to me. Every single Joni Mitchell record that I had was like my growing up as a kid. She said the words I wanted to say. But, the music moved me with Stevie Wonder and all of his early records. Those albums had huge impacts on me, in shaping who I am; not the just the music that I love, but, how I think.

  A common misconception about me... Well, I've never really heard this from people, but, what I'm going to guess is how short I am. People always think I'm incredibly tall, because, I have long arms and long legs. So, when they meet me they say “Oh, you're just a peanut!”
  People who come out to the shows and meet me, they're always surprised that I talk to anybody, that I am absolutely open to talking to them and that I have an open heart. Human beings are human beings. I am no better of a species...
  I just happen to do this and I'm glad they're all there to have fun with me. That really surprises people. I'm surprised by that myself. How else would I be? Why would I ostracize anybody that's having a good time with me?
  If you've been through a lot of heartache in your life and you are not one of the so-called privileged, you know what you have and you are grateful. You become really in touch with things that can be gone in two seconds. Those are the people you can actually have conversations with, because, they don't have time to waste time. To be anything other than real is just a waste of time.
  Say what you mean, but, don't say it mean. I have no fear of talking to people. If you don't like me, fine, I don't even have a grudge about that. It just is what it is.

  Wendy, Lisa and I are family forever. They happen to be really, really funny. That's why I stick around (laughs).

  John Cusack is very funny and smart.

  Susannah Melvoin on playing the lead role in “Under the Cherry Moon”: We were on our way to Paris to hunker down and study the script and get that all sorted out. Some other things went down and the next we were doing was me not being in the lead of the film. Which I'm grateful for. It was a blessing in disguise.



  Under the Cherry Moon... The record (Parade) is fantastic. It was a very, very loaded time. There was lots of stuff going on, but, the record was amazing. The “Girls and Boys” music video was shot in Nice on the set of the film. It was actually fantastic. I remember it being really grand. There we were in Nice and it was so beautiful there. It was just kind of a magical time. I felt like a princess. I think all us girls did, because of the hair and makeup. We were like “Oh my God, this is fantastic! Do me!” It was really fun.

  I want my fans to know that sadness... is like the clouds. They come in different shapes and different colors, but, they pass, and somewhere along the line the light comes out. Then the clouds come again. You should just breathe deep...and vote!

  “Miss Understood” was not put on the (first) album, because, I didn't want it to be. I wanted it for the second record and I wanted to re-cut it. There wasn't time to re-cut it before it was going to mastering and I said “Prince, you can't put this on, I'm not happy with it. Let's wait until the second record.” Then we both decided to just do that.
  But, that never happened. It's just floating around out there in the ether, totally not the way I wanted it, but, whatever... It was just way too insincere. I didn't believe myself at all, how would anyone else believe me? It just wasn't something I was comfortable with. At the time, I sang it so many different times to give it something and I was sort of given direction on that song by Prince. I was just not feeling it.
  But, at the end of the day, once I was done, I said, “Can I just do this again on the next record? Can I just re-cut it? There's some other ideas that I've come up with so I can get these words out.” Prince was nice about it. He was just said “Of course, let's wait for the second one. Let's just put (the album) out as is and we'll redo it the next time." I said “Great!”
  There were two tracks that had been done that were going to be put on the second record. But, that was all put in the vault, because, (Peterson) left. But, we definitely had the plan of doing it. (Peterson's) unreleased track had something to do with a tiger or a jaguar, or something like that. I can't remember. You would have to ask him. It had to do with some animal.

  fDeluxe is a bad ass band. Come see us live.



  I wish I could pay my mortgage.

  The music business... there is no music business. It's just the “ic” business. It's the I-C of the business...there's no muse, it's just the “ic.”
  If there is a music business, whatever business it is, has nothing to do with music. It has nothing to do with artists, it has nothing remotely to do with anything I, or my artist friends, do for a living...
  You certainly can't even sell music anymore. It's not about even selling music or making music, because, there is no money in making music. There's only money in selling...a part of your brand that has nothing to do with the music. That's a whole new world for artists now. But, that's the world that I live in and I'm not even talking about the ones that have no history. Those people have it even harder.
  Luckily, I've had a history (and) I'm heavily involved in the social media aspect of it. I'm heavily involved with my fans. I'm very involved in structuring how (my music) is heard. This is all pioneer stuff. Nobody out there has a clue on how it's going to work. There are some models, which people are going by, but, even those aren't a guarantee. It's just like work your ass off and something may stick. Maybe.
  But, hopefully, we can get out there and play... If you're lucky enough you have an agent who says “Yeah, we're going to put you out. Even if you have to play shit clubs, we're going to still put you out.” That's better than literally being told “There's no room for you out there in the touring world and you're going to have to figure it out for yourself” or “You're going to have to pay to play," which is even harder.
  So, in the music business, there is no muse. The muse is the thing that I was referring to, the inspiration. That's what a muse does. It's something or someone that inspires me to write a particular record... There's no muse in the music business anymore...

  I've worked with amazing people...my dream artists. I've worked with everybody I've ever wanted to and I feel blessed: Stevie Wonder, Erykah Badu, D'Angelo, Bilal, my sister and Lisa, the musicians in fDeluxe, Oliver Leiber, Chaka Khan...

  Clare Fisher, talk about a muse. He was my inspiration for getting the strings on the (first) record. Clare had done work with my father —my father being the arranger and Clare being the string arranger. So, I had that “in,” although, that was not how I was thinking about it at the time.
  Prince and I were listening to a bunch of Rufus records back in the day-- and this was before we thought about doing strings on the first record. We were talking about how brilliant the strings were on those albums. I had also been listening to a lot of Claus Ogerman and Bill Evans. There's one record they did called Symbiosis and it's just one of the most beautifully arranged records. Ogerman's string arrangement, and Evans playing the piano over it, is some of the most beautiful music I have ever heard.
  The only thing that's ever came close to feeling as perfectly arranged in terms of the strings was on the Ruficized record. I just said, “Prince, why don't we get Clare to do the strings on our record?” He said,  “Yeah.” I said, “My dad knows him.” I called my dad and said “Pop, you gotta call Clare and see if he's up for it.” He was.
  We sent him the 24 track. He got back to us right away and said “Absolutely.” Within a month we had all the lead sheets and we had the entire score for the record. We went in and cut it and I couldn't have been happier.
  Cut to this record (Gaslight) and Clare's son, Brent Fischer, who managed him. (Clare Fischer passed away two years ago). Brent would do all of his father's transposing, writing, and he would do all the lead sheets for his dad. Then he started to actually compose. So, I had gotten in touch with him.
  (Peterson) and I were in my garage where we recorded my record on Pro Tools. We called Brent and said, “You know your dad did the first record...Would you be up for listening to this one and see what you think?” He said, “I absolutely will.” But, we couldn't afford it, no matter how we tried to budget it, we just couldn't afford it.
  To make a long story short...(Peterson) went in on some of my sister's and Lisa's string programs and with my chirpy little ears, I was that gal who said, “This is beautiful, but, we have to have to make it more heartbreaking...” Brent actually heard it later and said “My dad would be so proud. I couldn't have done better.”
  I was in heaven about that. (Peterson) is really smart.  I just want you to know he's a total savant. He's a dork, too. That makes him even more of a savant. He's got all those fun qualities.

  I wasn't always...blonde?

  Will I ever make a living being a musician?

  The Revolution...best band Prince ever had.

  I've learned that feelings aren't facts...and that took me a look time.

  The response to the fDeluxe reunion was a total surprise and a shot in the arm.

  The Carnegie Hall concert was the best night of my life. Playing Carnegie Hall with my most beloved sister, all those other artists and my band...It was all good. It's too bad Prince took all the footage off (the Internet). You can't find footage of that anywhere anymore, but, It was on there for a while.


  
  Recording “Gaslight” was liberating. A lot people had never heard me sing like that...It was really satisfying to put my song on there...and show that I could throw myself into a track like that. It was liberating and absolutely fantastic. I had written that song years ago.

  Looking back...I don't do much of that anymore. But, if I do look back at all, I'm just glad I'm not there anymore. I'm glad I'm where I'm at. Life goes on. I've got the best two babies in the world.

  The future is always uncertain.


  Check out fDeluxe online at fdeluxe.com.


  Stay beautiful, Kristi

--

Like us on Facebook: Dyes Got the Answers 2 Ur ?s and Beautiful Nights.