Prince was a fountain of musical creativity — as daring and diverse as he was prolific. Like many geniuses, he rarely slept, and frequently found himself in the studio producing song after song after song. So many, in fact, that he often gave them away to friends and artists he admired, or stashed them in his storied vault with innumerable others for reconsideration.
He was selective about allowing other performers to cover his songs; but for the right person or approach, he would generously give them permission to make his song their own. And most fans know that Prince wrote or co-wrote every track on his protégé’s albums — from Vanity 6’s “Nasty Girl” to The Time’s “Jungle Love” to Sheila E.’s “Glamorous Life.”
In many cases, Prince recognized that certain songs were better suited for them than him. And sometimes, when he allowed others to take his music in new directions — like Sinéad O’Connor with “Nothing Compares 2 U” and Chaka Khan with “I Feel For You” — they would have even greater success. Yes, they put their stamp on it, but that’s also the mark of a stellar songwriter.
So, on this day, the ninth anniversary of his passing, we celebrate the Minneapolis wunderkind’s endless innovation and inspiration by spotlighting four of his best songs gifted to or covered by other artists — one that was so good…he decided to take it back!
4. “Manic Monday” – The Bangles (1986)
Prince originally wrote “Manic Monday” in 1984 for his protégé girl group Apollonia 6. He even recorded a demo with Apollonia — his on-screen love interest in Purple Rain — but for reasons unknown, he shelved the song.
Two years later, The Bangles were working on their second album, Different Light, when Prince offered them “Manic Monday,” written under his pseudonym Christopher. Many speculated the gift was more than just a sign of generosity, and that he hoped it would win over Susanna Hoffs.
Hoffs has said the group was immediately smitten with “Manic Monday” and thrilled to put their spin on it. But she had no interest in pursuing a romantic relationship with The Purple One.
The song became a massive hit for The Bangles, reaching No. 2 on the Billboard Hot 100 chart, but it couldn’t crack the top spot in April 1986 — that rarified air was locked by Prince’s “Kiss.”
3. “When You Were Mine” – Cyndi Lauper (1983)
It’s April 1980 and Prince is opening for Rick James on tour. In a Birmingham, Ala., hotel room, listening to John Lennon inspires him to write “When You Were Mine” for his third album, Dirty Mind.
The shimmering gem is a departure from his other funk-rock tunes, venturing instead into melodic pop territory, with jangly guitar and snappy synths. As with all the other tracks on the album, the 21-year-old emerging artist plays every instrument and backs up his own vocals.
Prince never released “When You Were Mine” as a single (it appeared as the B-side to “Controversy”), but within three years the song was covered by numerous artists — from Bette Bright and The Illuminations to Hi-Fi and Mitch Ryder.
The version most people knew, though, was Cyndi Lauper’s, from her 1983 debut She’s So Unusual. Yet, many didn’t realize it was a Prince original.
To Lauper’s credit, her mid-tempo New Wave take brought a whole new sparkle to the song. Though it didn’t greatly ascend the charts, only reaching No. 62, “When You Were Mine” did help her first album go multi-platinum and bring Prince’s artistry to an even broader audience.
2. “How Come U Don’t Call Me Anymore”/“How Come You Don’t Call Me” – Alicia Keys (2001)
First released as the B-side to his megahit “1999,” “How Come U Don’t Call Me Anymore” is one of Prince’s most strikingly beautiful piano ballads. Recorded in 1982 at famed Sunset Sound, it’s a simple production: just his alluring falsetto and a 1907 Steinway grand piano.
Fast forward to 2001: While working on her debut album, Songs in A Minor, classically trained pianist Alicia Keys is handed a copy of the track. “I had never heard [the original] before,” she told Billboard. “I played it every day for three weeks. It is so raw and so truthful.”
The then 19-year-old had to reach out to Prince to get his permission to not only cover his song, but also retitle it to “How Come You Don’t Call Me.” Keys said it was a nerve-wracking experience because the artist was “very particular about his music and was not about letting everybody and anybody [cover his songs].”
To Keys’ surprise, Prince invited her to Paisley Park to perform her version of the song in person. He loved what he heard, which included the addition of a funky beat, and gave her the green light to include it on her album.
The track became a commercial success for the first time, helping Songs in A Minor go seven-times platinum. It also marked the start of a good friendship, which included Keys inducting Prince into the Rock and Roll Hall of Fame in 2004.
1. “Kiss” – Mazarati (1986)
The crown jewel of this list is also its twist ending.
In early 1986, Prince gifted “Kiss” to Mazarati, a funk group started by his former Revolution bassist Brownmark. It was a sparse, bluesy demo, just vocals and acoustic guitar.
Producer David Z and the band dressed it up with an irresistibly funky groove, stacked background vocals, and that now-iconic LinnDrum beat.
When His Royal Badness heard it, he started having second thoughts.
Legend has it he marched back into the studio, stripped it back again, took out the bass, added the guitar break in the chorus, and re-recorded the lead vocals. But he left on the band’s backing vocals.
Mazarati’s version? Never released.
Prince’s, of course, was the best song on his Parade album and became one of his biggest hits. In fact, it went on to win the 1986 Grammy Award for Best R&B Vocal Performance and became a fan favorite on his tours.
Brownmark later claimed Prince asked him if he could record the song in exchange for a writer’s credit, positioning it as a lucrative deal. “In the end, I didn’t even get paid for it. He totally stiffed me,” the disappointed bassist told Uncut.
Moral of the story: Some songs are just too good to part with — even for Prince.
Donovan Roche is a longtime music writer and frequent contributor to Times of San Diego.
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