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I am posting C. Liegh McInnis' #SOTTDeluxe #PrinceTwitterThread on my account because C. Liegh is NOT on social media. @deejayumb has already given C. Liegh's intro. However, if you attended #DM40GB30 or 1 of the #SOTTSDC After Salons, U already know! https://twitter.com/deejayumb/status/1355157548417101826
C. Liegh McInnis: “When the Dawn of the Morning Comes” is not just a standard COGIC praise song; it’s another song that makes it impossible for me to believe that diehard fans could have been completely surprised by the lyrical content and narrative of The Rainbow Children.
C. Liegh McInnis: If one compiles this song with “Annie Christian,” “Free,” and “Anna Stesia,” it’s clear that Prince, no matter how much he deterred, was firmly working within the Judeo-Christian framework.
C. Liegh McInnis: “WTDOTMC” is another of those early songs that reflect his spiritual interests and that, for Prince, the answers to humanity’s issues were always rooted in spiritual solutions. Be it physical illness or iniquity, all will be righted by saving grace.
C. Liegh McInnis: While it is a bit more vague or ambiguous in that BeBe and CeCe Winans early songs manner, it is clearly in the mode of later songs, such as “Get on the Boat” and “The Word,” especially the live version of “The Word” at the ALMAs.
C. Liegh McInnis: The tambourine and piano provide the phonetic essence to supplement the lyrics, much like the music in “Free” creates the notion of a freedom song, which is rooted in gospel sound and thematic sensibility.
C. Liegh: The combination of his tenor/alto with his falsetto is designed to create a harmony and call & response indicative of the black church, which celebrates and nurtures a community of believers united to encourage each other to maintain the faith until Yeshua returns.
C. Liegh McInnis: Moreover, “2 view the new rising sun” has the double meaning of joy (light) erasing sadness (darkness) while punning “sun” for “son” as in the second coming of the Christ will end the negativity of life “when the dawn of the morning comes.”
C. Liegh McInnis: Though “WTDOTMC” has the same syncopation as “The Line,” “WTDOTMC” has more of a celebratory feel whereas “The Line” can seem eerie and dark.
C. Liegh McInnis: Rather than being one of those spiritual songs that evoke the notion of “judgy” or “judgmental” Prince, “WTDOTMC” only proclaims that peace and joy awaits listeners in the future, “There’ll b no more pain no more shame,” much like “Play in the Sunshine.”
C. Liegh McInnis: So, if Prince is trying to get me to join church, he should play “WTDOTMC” because “The Line” makes me think more about a bloody sky with fire and brimstone than the joy of heaven.
C. Liegh McInnis: Additionally, the fact that Prince writes and plays everything on a song that was recorded in September of 1986 is more evidence that SOTT is not the last dying breath of a Revolution project but a statement of Prince returning to his status of solo genius.
C. Liegh McInnis: Ultimately, “WTDOTMC” is more affirmation that Prince wanted to touch listeners deeply, beginning with the body and then elevating to their souls as a way to proclaim that the body is merely an instrument of metaphysical manifestation.
I hope you enjoyed C. Liegh McInnis' #SOTTDeluxe #PrinceTwitterThread for “When the Dawn of the Morning Comes.” It's short, but it packs a powerful punch. I decided to not dilute his words with any catchy gifs because C. Liegh is a wordsmith. His words are descriptive enough!
The next #SOTTDeluxe #PrinceTwitterThread is "It Be's Like That Sometimes" on Feb 2nd by @TMATSPodcast! As always, MASSIVE thanks to @deejayumb & @EdgarKruize for keeping the #SOTTDeluxe conversations going, months after its release.
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