After two electric funk-disco albums in For You and Prince, followed by two more funk-rock-electro-soul fusion offerings in the impressive, underrated Dirty Mind and Controversy, Prince finally made it huge with this double album of only eleven (not many for a double album) extended tracks of synthesiser-driven "computer rock".
Neither in late 1982, or now, can I describe myself as a proper Prince fan. I have a whole load of his albums, because I feel I ought to experience them as opposed to them actually floating my boat. I have never truly got the purple one, despite seemingly everyone else around me acknowledging his genius. So, that is the position I am writing from. I could never quite get, how, in those eighties years, people who didn't like rock music as a rule seemed to love Prince's often lengthy electric guitar noodling. I still don't. They love contemporary r'n'b yet they also love the extended indulgence of Purple Rain.
The other couple of problems I have had with Prince's output is firstly that he built a lot of his sound, particularly on this album, around synthesisers, an instrument I had trouble enjoying throughout the eighties and secondly, that the sound on his albums was pretty much awful. On this album it is muddy, indistinct and set far too low. It is just mushy to my ears. The 2019 remaster seems to have merely made it louder and slightly clearer, while at the same time rendering it incredibly tinny. I actually stick with the original CD recording, amazingly, and that still sounds bad. Maybe I need to re-listen to these, however, and, on doing so, find that if I turn down the 2019 one it probably does sound better - more clarity.
Anyway, enough of that as I am certainly no audiophile, thank God. Personally, I find this album somewhat robotic, distant and cold, difficult to properly enjoy, despite its bountiful supply of killer hooks. I have always seen it as music that was packed full of potential but never quite made it for me. That is obviously my problem, because 99% of the population who bought the album treat it as a work of genius.
All this electro-drum machine computer-generated gadgetry was not really to my taste, preferring straight-up traditional rock or indeed funk/soul formats on the whole. The album went on to influence decades of house, electro and techno and all that dance stuff that I could never really relate to. Eighties pop and r'n'b were also drenched in synthesisers and programmed drums as a result of this album, among others. I was raised on sixties pop, seventies rock, soul, punk, new wave and reggae so I am sure some can understand my reticence to accept this.
The album kicks off with a run of hit singles, beginning with the eminently catchy, singalong pre-millennial pop funk of 1999. I remember when it came out thinking just what a long time away 1999 was. Now it is thirty-eight years since 1982. The track is based on an infectious synthesiser riff that, much as I am not a synth man, cannot help but get into. The extended version has a great funky guitar bit right near the end that comes to an end a little too soon for my liking.
Then the track fades straight into the pop of Little Red Corvette, another song with an irresistible chorus hook that was literally floating in the air everywhere in 1982-83. Prince inserts a fine guitar solo into the programmed beats that appeals to the likes of myself. The whole track suffers from bad sound, however, which negates its attraction somewhat for me, especially on its over-quiet intro.
Delirious is a frantic, programmed drum-driven but slightly rockabilly romp that has a hooky addictiveness once again. The same as for Delirious applies to the lively Let's Pretend We're Married. Prince interjects a few of his trademark sexual comments into the song in places, getting lustier as it progresses. The more I hear this track the more I like it.
D.M.S.R. was omitted from the original CD release but is part of the album. It is a solid electro funker that stood for "Dance, Music, Sex, Romance" and has a good groove to it with hints of funk from previous eras. I actually quite like it. It brings to mind Talking Heads' output from their Speaking In Tongues era in 1983. That album was far better produced, however.
Automatic is a dense, industrial piece of rhythmic intensity that sounds as if it were recorded in a sheet metal foundry. Something In The Water has some cute, cymbal-imitating percussion sounds and Prince goes all Sly Stone as he semi-yodels at one point. It is a bit indulgent but I have to admit it has an attraction. Free has an anthemic, majestic vibe to it. Its guitar almost sounds like Queen too. What is never in doubt is that Prince had an innate ability to innovate.
Lady Cab Driver is one of my favourites, strangely. It has a beguiling, Tom Tom Club-style rhythm and vocal to it, great guitar soloing plus some chunky guitar riffs. It also has one of the better sound qualities on the album. Actually, I'll go so far as to saying this is the best cut on here. Yes, I love the sexy noises in the middle too. Naughty me. All The Critics Love U In New York is another good one too. It is odd how these slightly lesser-known tracks are the ones that I like the best. The guitar on here is very Adrian Belew (of Talking Heads and David Bowie fame). It is a clever, intoxicating track. I find myself loving the keyboard parts on this one.
The album ends with the soulful International Lover, which I also like. Finally there is a nice bassy sound in places. For many, it is the first half of this album they prefer all day long, whereas for me it is the last three tracks. Maybe that is the reaction of a part-time Prince listener. By the end of the album, though, I feel exhausted. It is certainly not one to sit through in one sitting although, as you've realised by now, that is just me. Having said that I listened to it twice through and appreciated it far more the second time, so there you go. Anyway, there is no disputing its creativity and massive influence, is there?
