 |
Prince - 3121
CD DetailsArtist: Prince Edition: Music CD CD Release Date: 2006-03-21 Music Label: Umvd Labels Soundtracks: - 3121
- Lolita
- Te Amo Corazon
- Black Sweat
- Incense and Candles
- Love
- Satisfied
- Fury
- The Word
- Beautiful, Loved & Blessed
- The Dance
- Get On The Boat
Music reviews of 3121Music Review: "I've Seen The Future And It Will Be" Rating: 5 Stars
The fans have already spoken and this is an album for fans of Prince's most commercial work. As much as I despise reviews that predict the commercial success of an album (an approach that is killing music and ensured that some of Prince's greatest work, including "The Truth", which is a work of genius, remains unheard by the sheepish masses), be warned: this album is going to be a monster!
In the early Eighties, Prince, as everyone knows, released the legendary "1999" album, built around the topical and timely concept of an apocalyptic vision of the future in the nuclear age. It was the perfect signifier for his passionate, obsessive themes of eros and thanatos and celebrated a conscious revolution of the sexual, beyond the sexual: a neo-hippy movement ("All the hippies sing together") which he fathered. That movement became The Revolution (aptly named), evolving into the Paisley Park label, before it finally matured into the New Power Generation. In 2006, Prince has released "3121", which comments very little on our times; instead, it revisits and revises those themes, both lyrically and musically, which is how this album succeeds.
In the Eighties, Prince's vision of the future truly made him visionary. "3121", however, is a stunningly vivid collage of lessons of the past. Those seeking the adventure and innovation of masterpieces like "Parade" will be disappointed; in fact, they may even cry "Sell out!" But Prince has proven in the past that he is definitely his own man and the fact that this album doesn't sound like anyone else but so-called "classic" Prince should confirm that, more than anything else, "3121" is Prince at play, enjoying being true to himself.
A mark of Prince's genius has always been the one song or more on every album that doesn't sound like any other song recorded in the history of music. It is the greatest pleasure any artist can give to the listener: the musical equivalent of a first kiss with your one true love. Can you name any song that sounds even remotely similar to "Rasberry Beret"? Of course, you can't. "3121" is this album's genuine original: the funkiest, nastiest, sexiest work Prince has produced since "Sexy MF". The vocal reacquaints you with the immortal Camille but precious little else is familiar. Although the song casts itself as a "futuristic fantasy", it is more like a lyrical reworking of "Darling Nikki" in every respect except for two things: there are oriental, perhaps even taoist allusions; and the fatalism of "1999" and "Purple Rain" has been revised with an exhileratingly ominous declaration of our sweet Prince being here to stay ("You can come if you want to / But you can never leave"). Again, this the expression of an artist who knows he is at his best.
As I'm sure most fans will recognise, "Lolita" echoes "Soft and Wet", although the production is jaw-droppingly free of bells and whistles and all their shackles. This may be why it sounds so modern, despite its Eighties-style construction. The song also features the popular catch-phrases of older recordings by The Time ("Fellas, how bad is this groove?"). Not surprisingly, the song is receiving virtually continuous airplay on Australian radio and would be a logical choice for a third single.
"Te Amo Corazon" is unique amongst Prince compositions, which is precisely why it infuriated as many established Prince fans as it awed. The fans it infuriated have obviously long forgotten how many of them wanted to throw their vinyl record of "Parade" against a brick wall before, a week later, they realised, like me, that "Parade" was and is the man's finest album. "Te Amo Corazon" is a delicate, layered work of art, further elevated by intimate, insightful lyrics ("Once when I first laied eyes on you /I saw heaven and earth anew") and typically sumptuous strings.
"Black Sweat" is the equally attractive cousin of "Kiss". When you first hear it, you may even think he can do this in his sleep, which is precisely the point. As the song says, "I don't wanna dance too hard / But this is a groove". Amen to that. Some have compared this mind-scrambling groove to the work of The Neptunes but Pharrell only wishes he could write something this intelligently infectious. Prince's trademark wit ("You'll be screaming like a white lady"), complete with delightfully deliquent androgeny, again transgresses all the dull, conformity that plagues contemporary radio-friendly hits. This may just be the music they play in neo-hippy heaven.
"Incense and Candles" is the closest thing to sex incarnate Prince will share these days with anyone other than his wife. Prince used to prefer "slamming" but now he likes to slow down, take his time and visit, even make, new worlds in the mind. Hence, this song is the centrepiece for the revelations introduced by the title track. Musically, the oriental influences are reintroduced as well. The song would be another worthy single.
"Love" is an ambitious piece. The arrangement is reminiscent of "I Want To Melt With U" but the heavy use of reverb delivers on its promise of warmer, engulfing vibes. The message is simple ("Love is free") but Prince, as usual, makes it sound like it's never been said before.
"Satisfied" is better than "Do Me, Baby" ever was at seducing the listener both literally and metaphorically. Prince always wrote, indeed seduced, on an intuitive level, blurting out brilliantly blunt truths along way like John Lennon; now he brings the wisdom of wider experience to his game. "Foreplay starts in the mind", he sings and how can anyone argue with him?
"Fury" is one of my personal favorite songs on the album and showcases more than one sizzling guitar solo. It rocks ... hard. The lyric is presumably directed at his lovely ex wife, Mayte, and comments she may have made in the press. Unless Universal totally lose their minds, this, too, will be a single.
Like Dylan before him, Prince reached new heights of unpopularity when what could be termed his "born again" period began, but it will be difficult for even the most cynical critics to dismiss a song as immaculate, in every sense, as "The Word". Scored by a subtle electro rhythm and melody, I can't remember the last time I was so moved by a Prince lyric: "...the truth has got to told / No matter how shiny ur lips r / They'll never b streets of gold.."
"Beautiful, Loved and Blessed", a duet with Tamar, is a case of Daddy Pop and his new protege looking in the mirror and reciting an exquisite affirmation of divine humanism. It is happily aimed at a wide audience and likely to win it.
For some strange reason, this allbum includes, albeit in a drastically improved version, "The Dance", a song previously released on Prince's criminally overlooked album, "The Chocolate Invasion", available now through the website: www.npgmusicclub.com. For those who haven't heard it before, "The Dance" is an epic tale of lust, self-doubt and tortured desire, in the tradition of "Something In The Water". It is the album's only curiosity but its inclusion here is obviously an indicator of how much Prince personally likes the song. As such, it is best received as a valentine from someone close.
Lastly, "Get On The Boat", like "Dear Mr Man" on "Musicolgy", exceeds all reasonable expectations as the album's political statement. Prince applies irresistible peer pressure on the proles to become conscious("We got room for a hundred more"). The James Brown style horns give the song a gospel edge that almost make it the funky equivalent of "Purple Rain". Maceo Parker has scarcely played better than he does on his solo.
Back in the day, C. Moon loved to tell the story of how he pitched Prince to Warner Bros. He apparently said, "I think I've found the new Stevie Wonder". Many times, I've tried to imagine the excitement that must have been in the room when C. Moon played Prince to "the suits" for the first time. Warner Bros must be kicking themselves now because that's just how this record defines itself and the man who made it. If anything, after "3121", every other artist out there may only be able to dream forever after of receiving the highest of all compliments: to, one day, be called the new Prince.
More 3121 free music reviews: 1 2 3 4 5 6 7 8 9
Description of 3121Japanese 12-track pressing of his 2006 album. Universal. Add 3121 to the mounting pile of evidence: Prince is the black Beck. He's a whole lot sexier, no doubt, but there's more to both musicians than image. All-out weirdness for one. Edginess for another. And a fine-tuned sense of how to combine the two to create some of the decade's most vital music for a third. Prince--looking ageless in videos for the first two singles, the controversy-courting "Black Sweat" and the sauna-steeped "Te Amo Corazon"--proves fearless as ever here, folding fat slabs of disco-funk into rock, heaping measured doses of hip-hop atop soul-tinted jazz supports, and slamming Latin rhythms against old-school R&B riffs. Nothing sounds as slinky-stylish-smart. And nobody delivers quite so deliciously, especially when what they're delivering is ultimately a madcap sonic mash. The usual hype surrounding a Prince release attended this one; over the long-term, expect a few standouts within a way worth-it set to emerge. They include the danceable "Love"; the gospel-lite falsetto feast "Satisfied"; and the summer-breezy "Beautiful, Loved & Blessed." --Tammy La Gorce More from Prince  Dirty Mind |  1999 |  Purple Rain |  Musicology |  Prince - Live at the Aladdin Las Vegas |  Purple Rain (20th Anniversary Two-Disc Special Edition) |
|
 |