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In high school, Dixon bought a “raggedy ass” 1972 Oldsmobile Cutlass for $300 and put $800 worth of sound system in it. Initially, Prince’s music served more aspirational purposes. He’s still in the process of transferring the collection to digital the playlist currently takes three months, 14 days, and 16 hours before it repeats, all with “no doubles,” he insisted. It’s inspirational.”īy Dixon’s count, he has at least 159 different Prince LPs, along with countless singles, videos, and DVDs. “I’m not into Prince for the memorabilia, I just want the music. “I didn’t care how I got it, as long as I got it,” he said. He started collecting around 1980, tracking down ephemera including discarded rehearsal cassettes that Prince’s band members had hawked to bootleggers. There, taking up most of the interior, is a floor to ceiling display of records and rarities by Prince Rogers Nelson-native of Minneapolis but adopted son of Detroit-all from Dixon’s personal collection. Funkenstein’s shoulder from the second floor. A similarly large blown-up image of Roberta Flack looks over Dr. A giant black-and-white photo of Parliament-Funkadelic grand poobah George Clinton appearing to pick his nose blocks out a window on the ground floor. (In 2017, Moodymann found himself on the other side of the sampler, when Drake lifted the moment from a 2010 Manchester gig where Dixon abruptly stopped a record mid-spin to tell the crowd, “Y’all get some mo’ drinks goin’ on, it’ll sound a whole lot better,” and included it on his More Life mixtape.)īut Dixon’s number one inspiration is Prince: The building that houses Mahogani and Moodymann’s main recording studio is known informally around Detroit as the “Prince Museum.” The exterior of the three-story red brick structure is decorated with billowing purple curtains. His most recent album, 2020’s Taken Away, found him looking even deeper into the past, sampling the cries of blues singer John Lee Hooker and R&B reverend Al Green.
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Over the years, the music on his releases has evolved from scratchy sample-flips to live instrumentation, and his own vocal contributions have grown from spoken soliloquies-his drawled delivery a cross between 1970s/80s Detroit FM radio personality the Electrifying Mojo and the loquacious narrator of Parliament’s “Chocolate City”-to actual singing.īesides his own crooning, Dixon’s music is always full of the sound of Black voices-samples and snippets from boisterous nightclub audiences, thunderous church sermons, and phantom radio broadcasts. It’s okay, you don’t need it all at one time.” Instead of trying to get into that million dollar door, get into these $10,000 doors.
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“It might not be a whole lot of money, but it’s peace of mind. “Ownership is a beautiful thing,” said Dixon. Dixon is also a proud Black businessman and the entrepreneur behind the wildly popular Soul Skate roller skating party held biannually at Detroit’s Northland Roller Rink, now a four-day festival attracting skate crews from around the country.