Following on from the programmed electro funk, synthesised, innovative but indulgent 1999, Prince changed his approach considerably in firstly employing a full band, The Revolution, and secondly by diversifying his sound to include rock, heavy metal, electric guitars, pounding "proper" drums, acoustic guitars and psychedelia all mixed together in a cornucopia that was far more poppy than his output thus far.
It was a more varied and consequently more attractive album than 1999. It was his rockiest album to date and, as I mentioned in the review for 1999, I found it mystifying (and still do) how people who listened to a daily diet of r'n'b-style soul and chart pop were suddenly claiming that Purple Rain, with its lengthy, extended rock guitar ending, was their favourite song of all time. Bizarre. I never understood that. Regarding its sound, all Prince albums are poorly produced, if you ask me, but this one's latest remaster gets away with it a bit and it is not as bad as many have claimed it to be, in my opinion (which is often in a minority, though, I have to admit).
Let’s Go Crazy is a frantic merging of gospel and upbeat soul with some almost Rolling Stones-like rock stylings that results in an infectious song that sticks in your head. It reminds me vaguely of The Clash's The Sound Of The Sinners. Like so many Prince songs, though, it unfortunately suffers from a muddy sound. Just think how much better the tracks 1999, Little Red Corvette and this one could have sounded with a clearer, sharper production.
Take Me With U is a jaunty, acoustic-backed but poppy number, leaving behind heavy electro funk for breezy pop. It has a pleasant, understated backing that utilises some sweeping string sounds. All quite different from the industrial, computerised funk of 1999.
The Beautiful Ones brings back to mind Prince’s debut album with its slow, falsetto-voiced tones. It is quite a beguilingly winsome song. Once more, it is totally different to anything on 1999. Prince vocally improvises inventively at the end, going all gritty in his delivery, as opposed to his usual mellifluous tone.
Robotic, insistent electro funk and that old computer obsession returns on the programmed groove of Computer Blue, which is enhanced by some fuzzy, screeching guitar swirling all around. It has a nice bass line too. The track has some interesting instrumentation in its changes of pace. It is one of those with hidden depths. It is a good one. The song segues into the controversial Darling Nikki, with its sexual-themed lyrics and odd, slightly waltz-like staccato beat. It is an odd song all around, actually, impossible to describe or categorise. It once more features some heavy metal interjections making it very much a rock song. By the end though, it has degenerated into a mess of noise and distorted tape loops. Those r'n'b and pop fans still loved it, however, incomprehensibly.
When Doves Cry was a big hit single and it is often described as being "bass-less" which I have always found perplexing as, although it famously features no bass guitar it is driven along by a thumping, deep programmed bassy drum sound. To me, it has a clear bass sound, so there you go, maybe I am missing something. Either way it makes my sub woofer-driven speakers shake.
I Would Die 4 U has a programmed cymbal replicate sound that is totally infectious and the whole song is pretty irresistible. I blame Prince for popularising the use of "u" instead of "you", however. He should never be exonerated for that. With barely a pause for breath we are launched into the breakneck pop-soul-rock-dance romp of Baby I'm A Star. All sorts of sounds and rhythms are on this one. Again, Prince has created something commercially nailed on. Check out that madcap keyboard solo half way through. Great stuff.
Then there is Purple Rain, Prince's Free Bird. It is a rock song, isn't it? No funk anyway near it. The drums, strings, keyboards, Prince's vocals and finally that electric guitar are full-on rock. The bit at 3.54 gets an old rock fan like me on his feet. Prince could play guitar, couldn't he? Then the wailing vocals come in. Lordy. Like nothing else he ever did. Overall, this was a fine album of infinite creativity and variety, and stakes a solid claim for being Prince's best offering. If only it had better sound.
