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Showing posts with label St. Paul Peterson. Show all posts
Showing posts with label St. Paul Peterson. 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 August 2013

Every Day is a Winding Road: St. Paul Peterson Talks 2 Beautiful Nights

  






  Paul Peterson's life has been a music-filled journey.
  The singer, instrumentalist, writer and producer is best known to Prince fans as "St. Paul," co-lead singer of fDeluxe, fomerly known as The Family, along with Susannah Melvoin. The band also includes Jellybean Johnson on drums and Eric Leeds on saxophone.
  Peterson, like Melvoin, also comes from a musical dynasty: his late father was an organist for the Minnesota Twins; his late mother, Jeanne Arland Peterson, was also a much-celebrated pianist and organist; his sisters Patty and Linda Peterson are accomplished singers, his brothers Ricky and Billy Peterson are renowned musicians and producers and his newphew Jason Peterson (JP) DeLaire is a songrwiter, instumentalist and vocalist. He has worked extensively with his family and many other artists including Steve Miller, Oleta Adams and Donny Osmond.
  Peterson is currently the program chair for recording and music technology at the Minneapolis Media Institute and reunited with his fDeluxe bandmates a few years ago. They recorded the album Gaslight (and a remix album titled Relit) and done several shows including a Prince tribute concert at Carnegie Hall in February.
  The band has three shows next week: one at 8 p.m., City Winery, Chicago, August 22 and  at 7 p.m. and 9 p.m. Dakota Jazz Club, Minneapolis, August 23. They are also currently in the planning stages of their newest project, Underneath the Covers, an album of cover songs, in conjunction with their fans who are making monetary pledges via pledgemusic.com to help fund the project.
  Peterson got his break at 17 years old in 1983 when he was chosen to be a keyboard player in The Time, along with Mark Cardenas, replacing former members James "Jimmy Jam" Harris and Monte Moir. (Terry Lewis, the band's original bass player, had, along with Jimmy Jam, been let go from the band).
  He was later chosen by The Purple One to head fDeluxe after The Time broke up. He left that band, after they released their first album in 1985 to pursue a solo career. His self-titled solo album was released on MCA Records in 1986. He released later released two more solo albums, Down to the Wire (1990) and Blue Cadillac (2007).
  Peterson took time out from his vacation by the lake last week do an interview for "Dyes Got the Answers 2 Ur ?s," where he discussed growing up in a family of musicians, the bond he shares with his fDeluxe bandmates and teaching the next generation of people entering the music business:

  My mother always said to do your musical homework and she was right. I always made sure to go beyond the call of duty when it came to studying my harmony and musicality. She always made me strive to be a better musician and it really helped. I feel it helped me be a better musician and a better person.

  My relationship to music is a love relationship. It's a spiritual relationship. It's a living-and-breathing relationship. It's a daily courtship that never seems to end. It seems to be a deeper relationship as I get older. I seem to understand that relationship better as time goes on. I have learned to respect and never take for granted the relationship I have with music.

  When I was a kid I thought everybody in the neighborhood played instruments. I grew up the youngest of the Peterson family and everybody in my family played (instruments). So, I figured that everybody else's family played, too. When I met a new kid on the street, I'd say, "Hey, what do you play?"

  My brothers and sisters are my teachers. They came up before me, not only in life, but, in the music business. They taught me so much about music and invited me into their world, even though I was the little brother they liked to pick on. They always included me in nearly everything they could musically. (I am) pretty grateful to them for everything.

  When I auditioned for The Time...(laughs faintly) I was scared to death. I'll never forget it. I was, of all things, on vacation in a place called Breezy Point and I got the call for the audition.
  (I) went home and I did not get the cassette tape on time. I got it the night before the audition and had to learn everything the night before the gig.
  I was nervous. I went in did the best I could, based on all the training I got from my family and all the gigs I had done prior to that. I guess it turned out okay. I wish I could remember the exact number (of songs I played), but, it felt like a million songs. It was probably four or five.

  I never dreamed... (speaking in a very deep voice) I'd be talking to you. I've been waiting all my life, baby, to talk to you. I've been waiting many years. (Laughs). Say the question one more time and I'll give you a real answer!
  I never dreamed a little white kid from Richfield, Minn. would end up being in the hottest African-American band in America when he's 17 years old. I never dreamed that Prince would pick me to be the lead singer of  fDeluxe. There's a lot of those. I could go on forever on that. I never dreamed I'd play music with my sisters, brothers and my mom for my entire life. I never dreamed I'd finally get on vacation (laughs).

  The first time I met Prince was at the first callback—my second audition (with The Time). He wasn't at the first one. I was nervous. He was this big rock star.
  He walked into the room and I think we were picking out swatches for the material we were going use for the suits in the movie ("Purple Rain"). It became my orange suit. I had picked out a beautiful black pinstriped suit and he said "No, you've got to stand out." Then he picked out an orange one for me. I said "I'm not wearing that." He said "Yes, you are."
  So, that was one portion of our meeting.

  Filming "Purple Rain..." talk about being thrown to the wolves, in a good way. My phrase is "Be ready for the opportunity, because, you don't when it's going to strike." I was fortunate enough for that to be a pretty incredible opportunity.
  Those guys put me right in the mix. One minute, I'm auditioning for the band, the next minute I'm filming for a little film. We didn't know what it was going to do-- now it's turned into an incredible entity and is part of music history. It's pretty humbling, but, you never know that going in. You have to be ready.
  I think growing up in that family of mine prepared me for a lot of different situations. (But), it couldn't prepare me for what those guys gave to me. It was a whole new line of education.
  The one and only scene where I had a line was when we're (The Time) walking through the back hallways of First Avenue and Morris Day leans back and says "How's the family?"
  They had us there quite a bit, more than you would think. (There were) a lot of club scenes. We didn't have any major speaking roles, but, we were there a lot. It was freezing. I remember that.





  Paul Peterson on replacing departed members of The Time: "I didn't understand the relationship that those guys who remained had with the leaving members. I was a little on the oblivious side. I was so green, which was probably a good thing.
  Looking back, it was probably hard on them. It wasn't hard on me. I'm sure losing their best friends was hard on them. They started this band together, now, they've got some kid from Richfield coming in trying to fill these shoes. I'll tell you what, I think it took a minute for them to adjust to it.
  But, Bean (Jellybean Johnson, the band's drummer) and I have been tight for 30 years. I call him my big brother. No one ever knew we'd have relationships that would last that long."

  I love teaching so much that I am the program chair for recording and music technology at the Minneapolis Media Institute. The campus is at the old Flyte Tyme Studios.
  It's a very interesting connection that I have with Jimmy (Jam) and Terry (Lewis), taking their places in The Time and, later, being in their studios teaching the next generation of producers and engineers how to win in the music business. It's fulfilling and incredible.
  The building was up for sale and my friend Tom Tucker bought it with another partner. They started a school, which became Minneapolis Media Institute. I ended up heading it (the program) after Tucker passed away. I tour less now. You never know what you're going to get with teaching. I can tell you that it can be really fufilling and really frustrating.
  You know and I know what it takes to make it in the (music) business. Some of these 20 year olds-- who think they know everything-- don't understand the work ethic that you need to be able to succeed. I feel that I get paid to teach them how to be teachable: to try (and) change the culture of the next generation of producers and engineers so they understand what it takes to make it in the ever changing music business.
  It's probably harder now to make it in the music business than it was when I was coming up. You could sell records when I was coming up. Now you can't sell records anymore. There are a very select few people who sell records.
  These guys have to figure it out. It's the wild west. We arm them with as many different skills as possible so they can have multiple income streams, put them all together and be able to make a living. It's challenging, but, it's fun.
  I've been teaching for 12 years. I've been the program chair for two or three years. It's funny, sometimes, I'll just show my students my (music) videos and give them a little ammunition. They say "That's you? Are you dancing on the ocean?" I'll say "I'm dancing on the ocean, yes I am."

  Paul Peterson on filming the video for his first solo single "Rich Man": "That (music video) cost more money...I'm still paying for that video! (Laughs). You know Paula Abdul was the choreographer. Yeah, that was my girl. (A.J. Johnson, of "House Party "fame, who is also featured in the video) used to date my drummer Sonny Emory. She was a great friend of mine.
  I introduced her (Abdul) to the producer (Oliver Lieber) who wrote "Forever Your Girl," "Opposites Attract" and all those tracks. That's my boy. He's in the band as a matter of fact (as fDeluxe's guitar player).
  It was fun. I'm not the greatest dancer in the world. I think she had a struggle with me. I was long, lanky and didn't grow into my body until about 10 years after that video. She made me pull it off though. I've got to give it to her. We spent a whole week on dance steps...and she turned me into something that I wasn't. That took me out of my comfort zone."


  fdeluxe's new covers album should be incredibly interesting. We are still in the process of picking out songs. Everybody has their own favorite songs and (we) want to make sure they fit the fDeluxe style or that we can arrange them into the style. Lieber's going to produce it and hopefully, if this pledge comes to fruition, we'll start as early as October and have it out by Christmas.
  We all have such eclectic tastes. We're looking at David Bowie, or obvious ones like Bill Withers and Sly and the Family Stone, to less obvious ones like Red Hot Chili Peppers.
  It's going to be interesting. It's all about the song. If you have a good foundation of a song, you can pretty much go in any direction you want. Leiber is such a killer producer that if I can just leave it in his hands and keep my claws off the steering wheel, we'll be fine.
  He wrote "Rich Man" with me and my brother ended up producing it. He had his hands in the production as well, but, he didn't get any credit. Sorry Oliver, I love you.
  I haven't looked (at the pledge percentage) in a couple of days, because, it's like the stock market: you don't want to keep looking at it. I think we are past the 50 percent mark with another month to go. (As of this writing, the fan pledges have reached 59 percent of the goal with 34 days remaining).
  Our fans have been pretty incredible. There are some great and interesting exclusives on there and people are taking advantage of them. There are (pledge amounts) from $12 to $20,000.

  I'm inspired by a lot of different artists, especially Stevie Wonder. It's funny that you would ask that question, because, sometimes I can into a little bit of a "Why did I get into this business in the first place?" attitude.
  The last month has kind of been that way for me. I've been driving back and forth to the cabin and I've been listening to incredible artists that I grew up loving: like Wonder-- the early records, even before Songs in the Key of Life-- George Benson, Breezin. I got to work with all these guys. That's the cool part. But, this is where it all began, where I fell in love with what I do. Then you go to Earth, Wind and Fire and Steely Dan. The musicality and the groove that is in all of that music. That inspires me.
  All the inner harmonies and melodic tensions that are created by groups of musicians just being in a room with each other, having a conversation, musically, is so incredibly inspiring. My family inspires me. They kick my ass all the time. They don't let me slide on anything and that's good. They made me a better man and musician for it.

  I've always wanted to tour a little more extensively with fDeluxe, my friends. But, that seem to be a little bit harder to do as we age. Not only because we're 50 years old, but, because, we all have separate lives. No one's banking their incomes on it; we're doing it more for fun than anything else.
I wish that we could make it more of a...full-time, making records, making a living situation, because, we love doing it. It's just that we've got kids--in grade school and in college. We all have different lives and we come together when we can. But, I wish we could do it more often.

  It all changed... (speaking in a deep voice) when we started talking on the phone tonight, baby. (Laughs). It all changed...huh? It all changed when I got that audition for The Time. Everything changed.
  It led to other things. When I was done with The Time and done with fDeluxe (in its first incarnation under Prince), I toured with many different artists like Steve Miller, David Sanborn, Kenny Loggins, Oleta Adams. Everything changed when I got the nod. Somebody said "Yeah kid, you got it."
  We all look for that one break. I guess that was it.




  My first solo album was probably one of my favorite records I've ever done. I learned a lot. I was frustrated, I was creative, I was green and I didn't know what I was doing. I got paid to learn. That was my music college right there. It cost a hell of a lot more than it costs today, though. (Laughs). MCA Records is probably saying "Yes, it did."
  I learned so much about songwriting, production, being a solo artist: trying to be a pop act or an R&B act. You've got to set yourself in that midset and I could not lean on someone like Prince to do it for me. In fact, (it was) quite the opposite.
  I really learned what it was like to be a producer, a songwriter and an artist on my own without the help of someone who is a complete superstar. I'm so proud of that record. It stands up to this day: great songs; really good musicians and great interplay. I have no regrets with that.
  I was out in L.A. and I got a call from a gentleman at A&M Records. He wanted me to come over and talk about doing some production on a kid named Janet Jackson. Well, I knew who she was. This was before "Control," when Jesse Johnson was working with her.
  I went over there and he (the representative for A&M Records) said "I don't want you to produce Jackson, I want you to leave Prince and come with me." I said "What? Leave Prince? Are you nuts?" Then he showed me the dollar figure he was talking about and I said "Oooh, I could do that!"
  When you're 18, 19, 20 years old, you think you are invincible and you think you can do everything. Thank God I had the background with my family -- musically and business wise -- growing up. That's basically how the ball started and it turned into a bidding war with MCA Records, where I ultimately ended up. Then, I had to tell Prince I was leaving. That was not fun.
  It's such a whirlwind when you're in the middle of it. You have no idea. It was tramatic. My own family said "Are you sure you want to do this? Are you crazy?"

  Paul Peterson on recording the song "Feline" : (I was) trying to learn how to rap, I don't even know if they called it that then. I still remember that rap to this day for some reason. (Singing lyrics) "Feline, get my body working..."
  It was funky, it was nasty and I was worried about what my mom would think. (Laughs). You know, (Prince) never talked to me about what the plan was (for that song). He and I didn't communicate on that level. That was his baby. So, I can't say for sure.

  I've never understood racism, because, a lot (of the time), in music, there really are no racial lines. I was talking with Sinbad about this the other day. Maybe I am just oblivious, but, I've been playing Black music my entire life. I've been accepted in that scene, maybe, because, the culture of musicians are very inclusive. When I see stupid shit that people do to each other, it just baffles me.
  It may happen in the music business, but, I believe it's way less prevalent. You're also talking to a Caucasian here who could be absolutely oblivious to it. But, as far as I see, where I'm coming from, it's all about the conversation, the musicality and experience through your instrument.

  fdeluxe was always funky. No matter if you're talking about the first record or the second record. Nobody expected us to remain friends for 30 years and want to come together to create new music. We ignored it for a while. We did a couple of reunions, with Sheila E. and ?uestlove, (but), the stars were not aligned to take it to the next level. But, when we finally did this thing with ?uestlove, Susannah and I looked at each other. We spent the next four years making that record (Gaslight).
  We laughed, we had a great time and we had to find a groove with each other. You know, I'm not surprised we're still making music today and we'll continue to make music into the future.




  The key to songwriting is playing chords that mean something to you: that do something to your soul; that have an emotional attachment; that you can put into a phrase for some wordsmith to put their craft on top of.
  I've always been a way better music writer than a lyric writer. I feel my strength is in harmony and melody. I've been going back to my idols and listening to all this music. I was listening to Steely Dan on the way up here: all the musicality, arrangements (and) all the best of the best. That moves me.
  As long as something is moving me, I know I'm doing something right. I believe in it. I don't just phone it in.

  Our upcoming concerts are going to be great. I can't wait to see my friends again and play some music with them. We have such a great time. It's really all about the hang and the music. It's so fun to see our fans. We know that they're out there. We know that they've been waiting to see us.
  We never had an opportunity to tour as (the first incarnation of fDeluxe); now we're trying to make up for lost time. We always involve our fans (and) we're excited to see them; excited to bring the old music and new music to them. Its gonna be rocking.

  The key to success...work hard.You have to bring it. You cannot half ass it. You have to always be 110 percent. Bring it every time and believe in what you're doing. Otherwise, don't waste your time. And practice. It's no mystery how people are successful. Work at it.

  Working with Donny Osmond...what a blast! One of my favorite people on the planet. You want to talk about a hard-working guy? He is everything I just described. The guy never stops.
  He's an incredible engineer. He can wire a studio. The guy wins "Dancing with the Stars," because, he's so freaking competitive. He doesn't want anyone to beat him-- probably because he's the little brother.
  We had a blast with each other. I warped the poor guy. He has this reputation for being the sweetest little man ever. Of course, I completely warped him. (Laughs). I mean, nothing bad or anything, but, we had fun. We traveled the world together.
  When I was doing my second record (Down to the Wire), his producers ended up producing my record. They were finishing up his record when we were having some meetings. Donny and I saw each other... and it was just such a connection. We were laughing just like little brothers. It was just weird.
  He is an incrediby gifted man. He really is. Good people. Probably the most unaffected rock star I've ever worked with.

  It's been hard gathering the members of fDeluxe to finish a record in a timely fashion. It is very difficult, because, everybody's busy.

  The Carnegie Hall Concert...wow. I think that's all I have to say about that. One of those life moments you never forget. We rocked them pretty hard. I'll never forget that.
  When we were done playing the songs everybody (in the audience) stood up. I was busy trying to wrap up my bass and get off stage. Wendy Melvoin grabbed my arm and said "Stop. Look out there. That's for you. Drink it in." I owe her a lot for that. She really made me look and take that in, you know?
  We've worked a lot of years to get to a point like that. So, it was pretty incredible to be recognized like that.



 
  The things that matter are what I'm doing right now: hanging with my family; being good to your kids, good to your mate, spending time, being good to one another. That's the most important stuff on the planet. Peace and love, man. I'm a '60s baby, aren't I? (Laughs). That's true, though.

  Down to the Wire and Blue Cadillac ...two very different records, but, great records. I'm proud of both of them.
  (Down to the Wire) is a little more pop-rock, which was an area that I was encouraged to go by my managers and my record company. I loved the record, but, it wasn't necessarily my M.O. I was blue-eyed soul, if that's what you're going to call it. It was a departure for me, it was an exploration.
  I think that they were taking a risk on alienating my fans and finding new ones. I was trying to take the advice of people who were very successful. It's not a bad record. I love every song on there. It's just another side of me. I think that record is very well crafted... There wasn't a lot of rock-and-roll guitar and straight ahead pop stuff going on in my earlier records.
  Blue Cadillac came back and was kind of funky. That was me going back in the other direction.

  In a family full of musicians...I got the best of every possible portion of that. Being the youngest was the greatest education of my life. Competition? Yes. But, competition, because, they wanted me to be better. Competition, because, they wanted me to be great and do great things.
  Being in a family full of musicians means you play together, you spend Christmas together and you do gigs together. You hang out with each other. You could be on tour busses together.
  I got to tour with my brothers in The Steve Miller Band, with me playing rock guitar. We were all on the bus together. It was incredible. My nephew and I toured with Oleta Adams and Donny Osmond. My brother, Ricky Peterson, and I toured with David Sanborn. I've done countless records with them all in different points in time. It's been an incredible ride and a blessing.

   Recording the first fDeluxe album (Gaslight) was an exploration to see what we'd come up with. It was an experimentation. It was the culmination of our life experiences and musical experiences in the songs that you hear.
  Susannah Melvoin and I wrote the bulk of that record. We had not ever written a song together. We had to find our groove and it took a minute to do that. We love other and we fought like cats and dogs...We made each other make a better record than we would have done (individually). That's what being a band is: you make each other better. That's what I think we do.
  It took four years, because, I was on tour most of the time. But, (it is) a great record. I'm so proud of it.

  If I could change...I wouldn't change anything. Everything I've gone through has made me who I am. I like who I am.
  I wish I could change that my mom wasn't more famous. She was pretty famous back home, but, she was a world-class pianist.  Nothing for me. I'm cool. I've done as much as I could ever want to do. I ain't done yet, either. Plenty more to come. (Speaking in a deep voice) Stay tuned...




  Click below for more information on upcoming fDeluxe shows:
  7 p.m. and 9 p.m., August 23, Dakota Jazz Club, Minneapolis

  To make a pledge toward fDeluxe's Underneath the Covers album, click here.

  Stay Beautiful, Kristi

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