1991, Part 1: Closing Down The Madhouse
I end up doing more research for these essays than I thought possible when I started. This one is for a nearly-forgotten album credited to Eric Leeds called Times Squared, and I probably watched four hours of interviews over two weeks trying to find information about it. I’ll be honest with you, I didn’t find much about the album specifically, but I did find plenty of interesting information, not the least of which being: I really like the way Eric Leeds talks about Prince.
Most people who talk about their time with Prince, especially since his passing, have a tendency to romanticize both him and his work. Leeds does not do this. At all. He may be the closest thing there is to an objective primary source. Even Lisa and Wendy make Prince sound like some tiny trickster god who decided to mince about in high heels making kickass records. To Eric Leeds, Prince was a respected colleague and valued client. That’s about it. Eric Leeds is such a professional that even when he talks about Prince’s faults and limitations, he contextualizes them in such a way that does not seem to diminish his obvious pride in the work they did together. He tells remarkably truthful-sounding stories for a musician.
So Whatever Happened To Madhouse?
The first two Madhouse albums were both released in 1987, but there was still plenty of material laying around for another album. In the early 90’s Prince was putting some effort into making Paisley Park Records into a more viable business entity, so the idea of a new Madhouse album began to float around again when Eric Leeds arrived for sessions as the Graffiti Bridge project ramped up.
At some point in late 1989 or early 1990, Prince simply gave Leeds free reign in the vault to grab any of the tracks they had recorded as possible Madhouse material dating all the way back to 1986. This period of Prince’s life is characterized by what almost seems like a “fire sale” approach to the contents of the vault. Almost every project that comes out of Paisley Park from the summer of 1989 to the summer of 1991 is made up mostly of material pulled from Prince’s backlog. This is particularly noticeable on Times Squared, possibly because of the difference in quality between the first two Madhouse albums.
As Leeds put his own production touches on the material, he eventually began overdubbing his own lead sax parts and making more creative edits. Finally, in Spring of 1990, he recorded an entirely new track with no Prince input, called “Lines.” When he finally turned over the album to Prince, he liked the result, but didn’t think it sounded “like Madhouse.” Ultimately, Prince offered to release the album as it was, but under Eric Leeds’ name. Of course, instrumental R&B music hasn’t really been a thing since the late 1970’s, so the album more or less went nowhere. It’s not really very accessible these days. I sold my copy years ago. For this essay I had to dig through youtube to find a playlist, since even Tidal doesn’t have the thing.
Which isn't to say it isn't worth a listen. Overall, I would call it better than 8 but not quite as good as 16, and lacking the conceptual unity of either of the prior works. Not that it's necessarily a bad thing. Leeds is a great sax player, and he knows how to get the most out of his instrument in this sort of environment, so it's definitely worth the time you'll spend finding the album and listening to it.
And Now: Some Speculation
Among fans, it’s usually said that if you want to hear the third Madhouse album, just listen to Times Squared, because that’s basically it. This is not far off base, because apart from “Lines,” all of these compositions were intended for one Madhouse project or another, many of them for a proposed third album. According to princevault there actually was an album called 24 that was compiled (possibly by Prince, but probably by Leeds) and submitted to Warner Bros. in 1989 that was subsequently rejected. That album then supposedly evolved into another album called 26 which then became Times Squared.
Possible cover art for the 1989 version of "24."
The 1995 version of "24" would have featured most of the New Power Generation. From left to right: Tommy Barbarella, Sonny T., Some Fool In A Red Mask, Eric Leeds, Michael B.
There were also rumblings of another possible Madhouse project in 1993 and again in 1995. Did these sessions even take place? It would not be unreasonable to believe they did. 1993-1996 were probably the most prolific years Paisley Park ever saw. Even now, I see those years on the horizon and I am filled with a nameless dread thinking of trying to write about them…
NEXT WEEK: It’s the New Dance! It’s the Sex Dance! And it’s Rockin’ From Coast to Coast!
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