1. The Time is a musical group that was formed in 1981. Featuring a funky sound merging pop with dance music, soul music, and more, they are prominent proteges of Prince and arguably his most successful side project. A version of the outfit called 'Morris Day and the Time' still tour to this day.
The band was assembled under a clause in Prince's contract with Warner Bros. that allowed him to recruit and produce other artists for the label. Inspired by the 1980 film 'The Idolmaker', a work about the life of music promoter and producer Bob Marucci (the svengali behind such 50s/60s teen idols as Fabian and Frankie Avalon), Prince decided to put together a pop-infused funk group that would serve as a pet project and an outlet for further hits and material in the vein of his own early albums. Prince had the intent to explore other musical genres and go for a more avant-garde ethos in his own career.
By 1981, he had built 'The Time' out of an existing Minneapolis funk unit called 'Flyte Tyme' (from the Donald Byrd song), which featured Jellybean Johnson on drums, Jimmy Jam and Monte Moir on keyboards, and Terry Lewis on bass. To this base, musicans Jesse Johnson (on guitar) and Morris Day (on lead vocals) came in. Day was a childhood friend of Prince and was drawn from another local band called 'Enterprise'. Prince had used an Enterprise song, titled "Partyup", on his 'Dirty Mind' album, and his selection of Day was essentially a reward; he had originally tapped Alexander O'Neal, yet another player in the Minneapolis funk scene, for the vocalist slot yet that had fallen through. "Valet" Jerome Benton also became a member of The Time, despite not playing an instrument. His main contributions are backing vocals and various on-stage antics.
The band went on to release four albums during the course of their main career, each being welcomed by man critics as a solid slice of jammy, rock-infused 80s funk. In contrast to the spiritually and ideologically charged nature of much of Prince's work at that time, The Time's albums seemed generally light and humorous in tone, though the first two of which were composed and arranged entirely by Prince. The band scored numerous hits over the years. These include "The Bird", "Jungle Love", "777-9311", "Get It Up", "Gigolos Get Lonely Too", and "Cool".
Still, despite burning up the R&B charts in the early 80s, the group never approached true super-stardom. Nor did they develop a reputation for innovation or artistic brilliance in the manner of Prince, with tensions building between the desires of the band members to spread their wings and the heavy-handed control of their famous manager. In terms of raw talent, Prince's associates clearly had much to offer.
In 1983, musicians Jimmy Jam and Terry Lewis, who had begun writing songs and branching out into production work of their own (such as working with SOLAR to produce Klymaxx and with Tabu Records to produce the S.O.S. Band), got stranded in Atlanta by a blizzard and failed to make it to a concert in San Antonio, Texas. The two were fined and then fired. Whether their firing had that much to do with the incident per se or seemed inevitable due to their increasing independence has never been clear, but the musicians went on to successful production careers involving them with multiple soul and funk artists. Monte Moir took the opportunity to leave as well, and he would also work with Jam and Lewis. The three were replaced with Mark Cardenez, Paul Peterson (redubbed St. Paul), and Jerry Hubbard.
This new line-up were featured in Prince's Purple Rain film. The Time rode the wave of popularity created by the movie and hit singles "Jungle Love" and "The Bird" and were household names in 1984.
It was Day who left next after arguments with Prince, choosing to pursue a solo career in 1985 after a successful acting turn in Purple Rain. Soon thereafter, with Jesse Johnson also opting to go solo, the band disintegrated but several members (Benton, Johnson and Peterson) were reformed into a new short-lived project called The Family. Meanwhile, Jimmy Jam and Terry Lewis went on to become one of the most successful songwriting and production teams of the 80s and 90s.
In 1990, Benton and the original six members of the band reunited for the Graffiti Bridge movie and soundtrack, as well as a new album called Pandemonium. This spawned their highest selling single, "Jerk Out" and the album featured more input from the band than any other Time album. The reunion was short-lived, however - infighting within the band caused them to disband once again. Morris and Jerome have since remained a team, with both trying out some small acting roles over the next few years.
Several members of The Time reunited in 1996, added a few new recruits and have remained together since. This version of the band can be seen in the Kevin Smith film Jay and Silent Bob Strike Back and tours frequently to this day. The band is usually billed as "Morris Day and The Time".
A fifth Time album is rumored to have been completed in the late 90s, recorded with the new lineup but production and coordination with Prince has prevented its release. The title Old Dogs, New Tricks was the working title. A 2004 album attributed to Morris Day called It's About Time contains a few new tracks written and performed by Day and a number of live performances by The Time.
In 2011, the original version of the band reformed as a new entity, The Original 7ven, in order to release a new album. Issues with Prince stalled out the group's momentum, even though 'Condensate' and its single, "#Trendin", both received critical praise. This version of the band had disbanded totally by 2013, Morris Day resumed touring as "Morris Day and The Time".
From late 2014 onward, the band shot back into international attention when genre-hopping British artist Mark Ronson used The Time's work as inspiration for his gigantic hit "Uptown Funk" (also known as "Uptown Funk (Feat. Bruno Mars)" due to Bruno Mars' involvement). After receiving the prestigious best British Single Award at the 2015 BRIT ceremony, Ronson directly thanked Morris Day and The Time alongside artists such as James Brown and others on air for trailblazing the "Uptown Funk" sound. In the past several months, a sort of 'halo effect' has allowed The Time to blast back into the mainstream and appear on programs such as 'Jimmy Kimmel Live'.
2. The Time was a freakbeat band of the mid-1960s from Southampton, United Kingdom. They released just two rare 45s on Pye Records in 1966, the first and best known one being 'Take a Bit of Notice' b/w 'Every Now and Then'. Personnel: Kevin Scott (vocals), John Glenfield (guitar), Mike Dubiel (bass), Danny Barbour (drums). Frontman Kevin Scott's real name was Kevin Finn. He would move on to become the lead singer in Wishful Thinking and The New Seekers.
Love Machine
The Time Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hey, yeah
I've got the toys, to turn your body out
I've got the noise, to make you scream and shout
The love machine will take your body higher
'Cause if it don't then I know you're a liar
Seventeen tongues licking from the neck down
Moving in a quick speed circular motion
Round and round, I said it
Round and round, like you like it
I lick it like you like it
I've got the toys, to turn your body out
I've got the noise, to make you scream and shout
The love machine will take your body higher
'Cause if it don't then I know you're a liar
The love machine don't bathe
The love machine cleanses with a little faith
Like a car wash spitting out soap and oil
There ain't never been a cleaner girl in the whole wide world
Turning in your body's psyche, dial a perfume that you like
The love machine will put it on you right
I've got the toys, to turn your body out (think I don't)
I've got the noise, to make you scream and shout
The love machine will take your body higher
'Cause if it don't then I know you're a liar
Hey yeah, what time it is? Love machine (love machine)
What time it is? Love machine
Fast or slow like a Leslie goes
If you want I can give you complete control
Over your climax and over mine
The harder you come, the longer the time (time)
The longer the time (higher, time)
The longer the time
The longer the time (time)
The longer the time
The longer the time it takes
Love machine
The love machine
Hey, hey
Hey, hey, hey, yeah
Shall we say we're in Paris? (I don't know)
Shall we say we're in Rome? (We could)
Shall we imagine a menage-a-trois? (I'm too young)
Shall we imagine we're alone? (What can I say to that?)
Shall we dream of each other naked? (Shit)
Shall we get undressed right here? (Oh no, love machine)
Shall we do this thing by the books? (What are you doing to?)
Shall we give in to our biggest fears? (The love machine, are you afraid?)
Are you going to dance with me? (Higher, yes, love machine)
Are you going to going to let me spin you around? (I might)
Are you going to kiss me quietly? (Can't you hear me?)
Are you going to make love with sound? (The love machine, higher love machine)
(Isn't that the way it's done?)
Are you playing the part of a shadow? (I am not)
Or are your inhibitions gone? (They are)
Are you afraid of the love machine? (Hell no, love machine)
Or will you let it drink you 'til dawn, drink you 'til dawn
I've got the toys, to turn your body out
I've got the noise, to make you scream and shout (the love machine)
The love machine
The Time’s song "Love Machine" primarily revolves around the theme of sexual pleasure and seduction. The song opens with a statement of confidence from the singer that their "toys" and "noise" can arouse their partner to the point of screaming and shouting. The singer challenges their partner to acknowledge their craving for physical pleasure, telling them not to lie about their desires. The lyrics take on a more graphic tone, using metaphors like "seventeen tongues" and "quick speed circular motion" to describe sexual acts.
The lyrics then transition into a description of the "love machine," a metaphor for the singer's ability to cleanse their partner's body and psyche with pleasure. The singer details how the love machine can be controlled by the partner, from the speed of the act to the intensity of the climax. The song ends with a series of questions and invitations, urging the partner to embrace their desires and let the love machine take control.
Overall, "Love Machine" is a provocative song that directly addresses sexual pleasure and seduction, using vivid metaphors to describe sexual acts and the singer's ability to fulfill their partner's cravings.
Line by Line Meaning
Love machine, yeah
The singer is referring to a device or technique that can enhance the experience of sexual pleasure.
I've got the toys, to turn your body out
The singer has the necessary instruments or equipment to induce sexual pleasure.
I've got the noise, to make you scream and shout
The singer claims to have the right audible stimuli to elicit moans of pleasure from their partner.
The love machine will take your body higher
The love machine is capable of elevating the sexual experience beyond one's usual limits.
'Cause if it don't then I know you're a liar
If the love machine fails to produce satisfying results, the artist assumes that their partner is deceitful in their expressions of pleasure.
Don't lie, you want some love that'll make you cry
The singer encourages their partner to be honest about their desire for intense sexual pleasure.
Seventeen tongues licking from the neck down
The singer graphically describes a sexual act where multiple partners perform oral sex on their partner's body.
Moving in a quick speed circular motion
The partners' tongues move in a rapid circular motion, perhaps mimicking the motion of a washing machine or car wash.
I lick it like you like it
The artist claims to have knowledge of their partner's preferred method of being pleasured orally.
The love machine don't bathe
The love machine doesn't just clean the body, it cleanses the soul.
The love machine cleanses with a little faith
The love machine has a spiritual component that reinforces the power of faith.
Like a car wash spitting out soap and oil
The love machine works like a mechanized car wash, cleansing and lubricating the body.
There ain't never been a cleaner girl in the whole wide world
The singer extols the virtues of the love machine's ability to create a squeaky clean sexual partner.
Turning in your body's psyche, dial a perfume that you like
The singer suggests that the love machine has the ability to appeal to one's sense of smell, allowing customization of the scent used during sex.
Hey yeah, what time it is? Love machine (love machine)
The singer asks what time it is and then answers their own question by repeating the phrase 'love machine.'
Fast or slow like a Leslie goes
The artist compares the momentum of sexual interaction to a Leslie speaker, which can vary the speed at which it spins.
If you want I can give you complete control
The artist suggests they are open to giving their partner full control during sex.
Over your climax and over mine
The singer understands that achieving climax is important to both partners and is willing to prioritize each partner's orgasm.
The longer the time, the longer the time it takes
The longer the build-up, the longer it takes to reach climax.
Shall we say we're in Paris? (I don't know)
The artist suggests roleplaying being in Paris but confesses that they are unsure if it's a good idea.
Shall we imagine a menage-a-trois? (I'm too young)
The artist suggests a threesome, but then claims to be too young for such a thing.
Shall we dream of each other naked? (Shit)
The artist suggests dreaming of each other naked, but realizes how ridiculous that sounds.
Shall we get undressed right here? (Oh no, love machine)
The singer playfully suggests getting undressed in the moment but is reminded of the love machine.
Shall we give in to our biggest fears? (The love machine, are you afraid?)
The artist suggests indulging in one's deepest fantasies, but then brings up the love machine and asks if their partner is worried about it.
Are you going to kiss me quietly? (Can't you hear me?)
The singer asks if their partner will kiss them slowly and delicately, but questions if they are being heard.
Are you going to make love with sound? (The love machine, higher love machine)
The singer asks if their partner will make noise during sex, possibly alluding to the power of the love machine to amplify pleasure.
Are you playing the part of a shadow? (I am not)
The singer questions if their partner is hiding anything or not fully present during sex.
Or are your inhibitions gone? (They are)
The artist asks if their partner is free from inhibitions, implying that freedom from inhibition leads to better sex.
Are you afraid of the love machine? (Hell no, love machine)
The artist playfully asks if their partner is scared of the love machine, and their partner confidently responds that they are not.
Or will you let it drink you 'til dawn, drink you 'til dawn
The singer suggests that the love machine can be a powerful force that can take control and bring pleasure until the morning light.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Prince Rogers Nelson, Levi Jr. Seacer, Morris Day
Lyrics Licensed & Provided by LyricFind