I got this book thinking that the author was going to talk about Prince, Morris Day, Time, Jimmy Jam & Terry Lewis, among others. Really not the case. The first part of the book brings you up to speed on the music scene of the fifties and sixties, in Minneapolis. The author also gives you some of the people in the jazz and club scene who were important during though times. All of this was good along with the history of Minneapolis, like the rioting in the sixties which I understood needed to be in the book even though I already knew about that also being a history person. What I missed out on is why all of this had the impression or cause of the explosion of the music that came out of the city. There was no mention of the reason or the how or why all of these individuals became so big in the music when they did or even how Prince stayed at the top for so long. That is what I felt was missing out from this book. For someone like me who is into the music and still listens to these groups and to Prince I was hoping for more. I do know the author put a lot of time and effort into this project I was just expecting more.

Outstanding book on the Minneapolis Sound and the history. I did not realize that some of the other acts came out of Minneapolis. Let's be honest, when we think of Minneapolis, we think of His Purple Badness. This book shows that Minneapolis has given us so much more. I devoured this book and found it to be well written. I recommend this book to anyone interested in the music that Minneapolis has blessed us with. Thanks to NetGalley, the author and the publisher for the ARC of this book in return for my honest review.

The last 18 months have seen an explosion in critical and scholarly discourse on Prince: his music, persona, cultural significance, and beyond. It was only a matter of time until the focus would widen to include the “Minneapolis Sound” Prince played a significant role in shaping and delivering to an international audience. Got to Be Something Here, written by former City Pages music editor and current Minnesota Public Radio host Andrea Swensson, is the first major book to discuss the Twin Cities’ unique contributions to African American music.

To be clear, this is not a book about Prince–though he casts a long, purple shadow over the story, lending foreshadowed significance to places like The Way community center, Sound 80, and of course Sam’s Danceteria, later known as First Avenue. Swensson’s history begins in the year of Prince’s birth, 1958, when a Near North doo-wop group called the Big M’s recorded Minnesota’s first R&B single; the narrative path continues through the “chitlin circuit” of early African American R&B venues, the ill-fated integrated dance club King Solomon’s Mines, and finally the grassroots Northside funk community that spawned Flyte Tyme, the Family, and Grand Central. This expanded perspective offers a broader, but ultimately more useful definition for the Minneapolis Sound than the usual “post-disco R&B with synthesizers for horns.” In particular, Swensson convincingly argues that from the 1950s to the 1980s and beyond, music from the Twin Cities was marked by an “aggressive blend of genres” that crossed Minnesota’s de facto but sharply-drawn color lines.

By focusing on the material conditions that necessitated this line-crossing, Swensson offers a valuable, politicized context for Prince and the other Black musicians who put Minneapolis on the map. The most eye-opening part of the book, especially for a non-Minnesotan like myself, is Swensson’s research on the construction of Interstate 94, which displaced St. Paul’s predominantly African American Rondo neighborhood and cut off Minneapolis’ North Side from the rest of the city. The story of the Minneapolis Sound is thus a story of unequal access to resources, and the things Black musicians had to do to get their fair share: chiefly, working twice as hard as their white counterparts, and becoming versatile enough to appeal to audiences outside of the city’s tiny African American enclaves. Pair this socioeconomic backdrop with the emergence of one phenomenally gifted individual, and you have as good an explanation for Prince as any.

If there is a complaint to be had about Got to Be Something Here, it’s that there simply isn’t enough of it: at just over 200 pages, it’s a surprisingly swift read, and it left me, at least, wanting more. While I understand why the book focuses on the Minneapolis scene “Before Prince,” it would have been great to hear more about the Purple One’s immediate peers: not just Jam and Lewis and Morris Day, but also Sue Ann Carwell, to name one perpetually underrepresented figure. I’m also curious to learn more about cross-pollination between the city’s funk and punk scenes: did Minneapolis have its share of Black New Wavers, or were Prince and André Cymone the only outliers? Again, it’s understandable that Swensson would narrow her focus here, as the story of First Avenue, Twin/Tone Records, and so on has been more thoroughly covered elsewhere; it would be fascinating, however, to find the connections between these parallel communities, in the same way that other pop historians have found the connections between punk and disco in late-1970s New York.

But again, these are quibbles: Swensson has made an important contribution to the study of Minneapolis’ musical history, and her passion for both the city and the music is evident on every page. If there are stones left to unturn–and there are–it will be the happy task of future researchers (maybe even Swensson herself!) to continue the work. For now, Got to Be Something Here is a great start: a story that needed telling, carefully and incisively told.

I give it a 4 outta 5. You can really feel the author's passion for the Twin Cities' music scene as it bounces of the pages. Stylistically, I really like how most pages feature quotes from people who lived during the heydays as it has a very immersive feeling compared to a report just documenting facts. There's a large abundance of photographs to accompany the text too, which I always enjoy most about biographies because you can see how people lived and dressed and behaved in a time long past (a picture says a thousand words).
I'm not a fan of Prince, so thankfully any mentions of him were assigned to the final chapters. But I liked the epilogue as it featured the author's personal interactions with Prince so it was a story about her more than him (I.M.O.) giving another instance that immersive personal touch.

I haven't gotten all the way through this book but I thought I'd get a review in. I was familiar with Swensson as a radio personality but hadn't read much of her work before. This book is really engaging and although it is an important topic, Swensson's writing style makes this book a must read for any music or MN history fan.