Day was a high-school classmate of both Prince and André Cymone and the trio formed an early band called "Grand Central", later renamed "Champagne". Later, Prince embarked on a solo career but retained Cymone for his backing band. The two began to plan a side-group that would focus more on R&B, while Prince would continue to explore various musical styles. The Time was composed of 4 members from an earlier funk group called "Flyte Tyme", but the lead singer had not been chosen. Sue Ann Carwell was auditioned and Alexander O'Neal nearly became The Time's lead singer, but dropped out due to payment negotiations. Day, who was now in a band called "Enterprise" allowed Prince to have a song called "Partyup" for his Dirty Mind album and Prince would soon return the favor by giving Day the job of lead singer. Day would suggest guitarist Jesse Johnson, who completed the band's ensemble.
The Time's most prolific and visible period came in 1984 when Day played the antagonist to Prince in his film Purple Rain, which helped establish Day's playboy stage presence. Typically escorted by his valet, "Jerome" (Jerome Benton), Day won fans with his exaggerated vanity ("Jerome bring me my mirror!") and strutting bravado, acting as a comic foil to Prince's romantic, sensitive lead. This persona was further exploited for comic effect on The Time's records, on songs such as "Chili Sauce" and "If The Kid Can't Make You Come" from the album Ice Cream Castle.
That album, the group's most popular, is best remembered for the infectious singles "Jungle Love" and "The Bird". With their palpable pop energy and catchy choruses, both songs were huge hits on both Urban and Pop radio. But it wasn't until 1990,when the Time scored a #1 R&B hit with "Jerk Out" (a dance/New Jack Swing cut from their reunited fourth album: Pandemonium . This album also featured the original members of the band). The same year, Day formed his own girl band (not unlike Prince's Vanity/Apollonia 6) called The Day Zs. From that high point, Day's success began to wane in the 1990s. With the breakup of his band, the mediocre sales of his solo records, and the general decline of Prince's popularity, Day's public visibility and creative output waned considerably.
Today, he remains a popular concert draw, fronting a revamped lineup of The Time. Day continues to employ "Jerome" in his stage shows and the comic scenes the two act out together are typically the highlight of a Time performance.
Though he had continued to act in films from time to time in small parts (Richard Pryor's Moving being a brief but memorable turn), Day's presence on the screen decreased until, in 2001, he returned to film in Kevin Smith's Jay and Silent Bob Strike Back, performing "Jungle Love" with The Time and dancing with the movie's stars in the movie's coda.
Source: http://en.wikipedia.org
The Walk
Morris Day Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's called "The walk, the walk", just let your body talk 'til you're deep in a trance.
You don't need no partner, you can walk all alone.
Whenever you feel the groove just let your body move, walkin' to a beat of your own.
(chorus)
Everybody walk your body, everybody walk.
Everybody walk your body, everybody walk.
Attention everybody! I said it ain't hard to do.
Just walk, walk, let your body talk, walkin' so cool.
Attention everybody! I said I just shined my shoes.
So you can let your body talk, just watch where you walk or your life you're gonna lose.
In other words, I'll walk you 'til you're dead.
(repeat chorus)
The days of dancing in one place are gone.
And honey, you know you can't dance with them tight jeans on.
If you try to cop a dip, you trip, slip, and fall.
Walking's for the cool baby, put on a camisole.
(repeat chorus)
Who? Me? I wear baggies, zip, snap, and drop.
Easy access baby. Yes, before you get a chance to holler "Stop!"
Besides, Rollo likes his freedom.
Ain't nothin' like a fresh pair of baggies.
Now I know that's right
(repeat chorus)
Hup 2, 3, 4, what the hell are we fightin' for? Walk.
Damn, I'm 'bout to walk a hole in my Stacy Adams.
What time is it?
Little cute guitar player, make your mama proud.
I want all of Detroit City to stand up, clap your hands!
Alright you Polaroids, stay in time with the drummer.
Jellybean, don't be so mean. Mr. Jelly, turn it around.
Bass man walk downtown. Go on and walk, Terry.
I don't think they heard ya.
What time is it? Rock City.
Well OK, if you put it that way.
Ain't nobody bad. Cheerio.
We don't like policemen.
We don't like new wave.
We don't like television.
(repeat chorus)
Say, hey baby, where you goin'?
.... I'm going home. I can't dance like that.
Well baby, that's because you got those jeans on to tight.
Now let's just take'em off.
.... What do you mean "Let's just take'em off?"
Come on, take'em off. I got something for you to wear. Here, put this on.
.... Uh, you always keep lingerie in your glove department?
None of my women wear gloves. Now put this on.
.... But...
But my ass. Hey, a play on words.
.... But all the girls will stare at me.
All the girls in this neighborhood already wear camisoles.
.... I know, but...
But, but... that's because it's cool. Now let's get them jeans off.
.... Ok, but I'm warning you.
Warning me about what?
Mm, God, this zipper's tight. Here, why don't you lay down?
.... Um, that's what I'm tryin' to tell you.
Stop tryin' to tell me things and pull!
.... But...
Come on, pull!
.... I'm warning you.
Mary, sweet mother Jesus!
.... I told you.
Damn baby, how'd you get all that in them jeans?
.... It wasn't easy.
I know that's right, mmm! Well, I think you'd be more comfortable in this.
.... I'm sure I would. I don't know.
Hurry up Grace, song's almost over.
.... My name's not Grace.
I know that, but hurry up... Grace.
.... Man, these are weird. I guess the tag goes in the back.
Hurry up!
.... OK, OK, how do I look?
Almost as good as me, now let's go!
.... Hey Morris, what time is it? Who's the lovely lady? Introduce us.
I'll introduce you to a headache if you don't get out of my face!
OK baby, now check this out. We gonna walk 'til the song's over.
In other words, meet me at the bar in 32 measures, cool?
.... Cool.
And if you're good, I'll let you work the stick in my ride. Uah ha ha!
"The Walk" is a song by Morris Day that celebrates walking as a dance move, and the potential of the human body to move to the music in its own unique way. The dance doesn't require a partner, and it can be done to any beat. The lyrics also poke fun at the "tight jeans" trend of the day, proclaiming that "walking's for the cool baby, put on a camisole". There's a playful quality to the lyrics that encourages listeners to let loose and have fun.
The chorus of the song encourages listeners to "walk their body" and repeats the phrase several times. The verses include playful banter between Morris Day and a female character, who eventually changes into a camisole under Morris Day's watchful eye. The song emphasizes individuality and nonconformity, suggesting that people should do what makes them happy rather than following trends or trying to impress others.
Overall, "The Walk" is a lighthearted and playful celebration of movement and individuality, with an infectious beat that encourages listeners to get up and dance. The song is a classic example of funk-infused R&B, with a catchy melody and memorable lyrics that have stood the test of time.
Line by Line Meaning
Attention everybody! I'm gonna show you a brand new dance.
Morris Day is introducing a new dance to everyone.
It's called "The walk, the walk", just let your body talk 'til you're deep in a trance.
The dance is called "The Walk" and is done solo, allowing you to dance in your own groove until you're lost in it.
You don't need no partner, you can walk all alone.
This dance is independent and you don't need someone to partner with.
Whenever you feel the groove just let your body move, walkin' to a beat of your own.
In this dance, there's no need to follow a rigid structure, your body simply flows with the groove and the beat.
Everybody walk your body, everybody walk.
The chorus invites everyone to join in and walk their body to this new dance.
Attention everybody! I said it ain't hard to do.
Morris is reassuring everyone that the dance isn't difficult to master.
Just walk, walk, let your body talk, walkin' so cool.
All you have to do is walk with your own cool and style, letting your body do most of the talking.
Attention everybody! I said I just shined my shoes.
Morris is reminding everyone to pay attention where they're walking and avoid accidents.
So you can let your body talk, just watch where you walk or your life you're gonna lose.
He further stresses the importance of being careful while dancing or else you might end up losing more than just the beat.
In other words, I'll walk you 'til you're dead.
This is a playful way of warning that he'll keep walking and dancing everyone until they drop from exhaustion.
The days of dancing in one place are gone.
Morris is stating that the old way of dancing in one spot and not moving much is outdated.
And honey, you know you can't dance with them tight jeans on.
He's poking fun at how fashion trends can affect one's body movement in this case its tight jeans.
If you try to cop a dip, you trip, slip, and fall.
Trying to cop a dip, a dance move where you lower or dip down, might end up in wobbling or falling.
Walking's for the cool baby, put on a camisole.
To dance freely and coolly one needs to dress properly, and Morris suggests wearing a camisole.
Who? Me? I wear baggies, zip, snap, and drop.
Morris brags about wearing loose baggy trousers with a zipper that he snaps and drops for freedom of movement.
Easy access baby. Yes, before you get a chance to holler "Stop!"
This is Morris saying that the loose trousers are easy to drop without requiring anyone's permission - this is in reference to certain sexual acts.
Besides, Rollo likes his freedom.
Rollo is Morris' friend that prefers the freedom of movement in similar loose trousers.
Ain't nothin' like a fresh pair of baggies.
Morris emphasizing the importance of comfort in a fresh new pair of baggy trousers.
Now I know that's right
Morris is saying that this feels right for him and knows it is a true statement.
Hup 2, 3, 4, what the hell are we fightin' for? Walk.
In this dance, there's no need for arguments or fighting, we simply walk and let the beat take over.
Damn, I'm 'bout to walk a hole in my Stacy Adams.
Morris is enjoying the dance and letting out his frustration about damaging his expensive Stacy Adams shoes while dancing.
Little cute guitar player, make your mama proud.
He is complimenting a guitar player, asking them to make their parents proud with their musical skills.
I want all of Detroit City to stand up, clap your hands!
Morris wants to encourage everyone to come together and have a good time in Detroit.
Alright you Polaroids, stay in time with the drummer.
This is in reference to Polaroid pictures, indicating that everyone has their own beat, but should stay synced up with the drummer.
Jellybean, don't be so mean.
Morris is playfully telling someone named Jellybean to stop being mean and enjoy the dance together.
Mr. Jelly, turn it around.
He's asking someone named Mr. Jelly to turn up the music or change the tempo/direction of the music.
Bass man walk downtown. Go on and walk, Terry.
Morris directs the bass player to play more walking/jazzy rhythms and encourages Terry to keep walking to the beat.
I don't think they heard ya.
He thinks someone wasn't listening or not responding well to his instructions.
What time is it? Rock City.
Morris is telling everyone where they are and asking what time it is, as if they were in a castle, but instead, they're in a Rock City.
Well OK, if you put it that way.
Morris is saying that he agrees after someone presents an argument or reason.
Ain't nobody bad. Cheerio.
Morris is saying that no one is a bad dancer or inferior, and bids everyone farewell.
We don't like policemen, we don't like new wave, we don't like television.
Morris reveals what their community or social circle dislikes or goes against in mainstream society.
Say, hey baby, where you goin'?.... I'm going home. I can't dance like that.
This dialogue conveys how Morris hits on a woman and invites her to dance, but she declines, citing her inability to dance in tight jeans the way Morris had earlier mentioned.
...Well baby, that's because you got those jeans on too tight. Now let's just take'em off. What do you mean
Morris playfully suggests that her tight jeans are the problem for her inability to dance and cheekily encourages her to take them off. There's some sexual tension and lighthearted flirting between the two.
Let's just take'em off. Come on, take'em off. I got something for you to wear. Here, put this on. .... Uh, you always keep lingerie in your glove department?
Morris is continuing to tease the woman by secretly keeping lingerie in his glove compartment and invites her to change into it for the dance.
None of my women wear gloves. Now put this on. .... But... But my ass. Hey, a play on words.
The woman is shy and resistant but Morris continues to insist and tells her to stop with her concerns and put it on. Morris is being playful and makes a joke playing on the phrase "but my ass".
...But all the girls will stare at me. ... I know, but... But, but... that's because it's cool. Now, let's get them jeans off.
The woman is worried that she'll be judged or looked upon by others but Morris encourages her to be confident, reassuring her that camisoles are well-liked and the norm among the other women in their group.
... Ok, but I'm warning you. Warning me about what? Mm, God, this zipper's tight. Here, why don't you lay down?
The woman finally accepts Morris' persuasion but warns him about something, only to be cut off by a comment Morris makes about the tight zipper on her jeans. He then asks her to lay down on the back seat of a car
... Um, that's what I'm tryin' to tell you. Stop tryin' to tell me things and pull! ... But... Come on, pull!
The woman tries to tell Morris that there's something deeply wrong with this situation, and he just shushes her and asks her to pull while pulling the zipper down slowly to look at her butt.
... I'm warning you. Mary, sweet mother Jesus! ... I told you.
The woman finally loses her temper as Morris makes a comment about her behind, and she tells him yet again that she warned him about this.
Damn, baby, how'd you get all that in them jeans? ... It wasn't easy. I know that's right, mmm! Well, I think you'd be more comfortable in this. ... I'm sure I would. I don't know. Hurry up, Grace, song's almost over. ... My name's not Grace.
After Morris successfully convinces her to change her outfit, he admires her curvy figure jokingly, and they continue to flirt as she begins to change to camisole, calling her 'Grace.' She reminds him that's not her name, and he hurries her up as the song is almost over, they continue to flirt before ending the conversation abruptly.
... Man, these are weird. I guess the tag goes in the back. Hurry up! ... OK, OK, how do I look? Almost as good as me, now let's go!
After questioning and changing into the camisole, the woman hurries to join Morris in the celebration where he compliments her, telling her she looks good as they head out to start dancing again.
I'll introduce you to a headache if you don't get out of my face!
Morris snaps back harshly when someone is trying to distract him while he's dancing.
OK baby, now check this out. We gonna walk 'til the song's over.
Morris is redirecting the focus back to the dance when the woman comes back, announcing that they would dance exclusively to walking until the song finishes.
In other words, meet me at the bar in 32 measures, cool? ... Cool. And if you're good, I'll let you work the stick in my ride. Uah ha ha!
Morris sets out specific plans to meet at the bar and flirtatiously tells the woman that if she dances well, she could be rewarded with driving his car.
Contributed by Grace E. Suggest a correction in the comments below.
@rhino
"Whenever you feel the groove just let your body move, walkin' to a beat of your own" 🚶🎶
@musiclover4ever854
@RHINO Thank you so much! Now the last official music video that you need to upload by the Time is "Chocolate" (with 7 kids portraying the 7 members of the Time at the beginning of the video).
@lufecashell8450
Style😎🤙🏻
@musiclover4ever854
By the way, you can watch the official music videos for "Jungle Love" and "The Bird" on the Purple Rain 20th Anniversary 2-Disc Special Edition DVD (that's the reason why I decided not to mention them in my previous comment).
@hmst5420
Any plans on releasing "The first harvest" by Alphaville?
@raqueldelossantos5032
Word!!
@butchsanders9537
I CANNOT EVEN BEGIN TO EXPRESS HOW MUCH I MISS THIS KIND OF MUSIC..
@gregmartinez3824
How you gonna miss it if your jammin to it right now Butch thank GOD who invented You Tube
@TommyAstrology
I grew up in the 80's bay area .In those days we were only concerned with being hip, slick and cool and most important getting phone numbers . House parties every weekend, dancing against each other . No violence, no fighting just being as cool as we could be . I miss those days also .
@calebaikenmusic
It’s gonna come back