Around the World in a Day - Prince (CD 1990)

Arriving only a year after the chart-destroying smash Purple Rain , Prince s seventh record Around The World In A Day was met with a somewhat mediocre reaction after the stunning success of its predecessor, with the artist continuing to explore texture and structure beyond typical radio fare. With a sizable number of influences added into the mix, Around the World In A Day manages to appropriate various styles with a reasonable level of success, even though it s a relative step down as cool as a sixties/seventies psychedelic Prince may sound, it doesn t quite hang together fully, even though the individual songs are pretty solid.

Part of the reason why I think that Around the World is a (minor) quality drop is due to the slight sense of deja vu that exists within. The Prince philosophy (equal parts thoughtful spirituality and bed-demolishing sex) is all present and correct, but he s not necessarily saying anything new with it, even if the musical clothing is shiny and fresh. In addition, a few of the more experimental pieces lack precision, plodding along in a drug-induced haze that s fine if you re in that state of mind, yet a little annoying otherwise.

I ll finish my complaining by detailing the only track on the album that I dislike, which is the monotonous ballad Condition of the Heart . Beginning with a meandering, two-minute synth-piano intro, the song exemplifies the term muzak , never featuring anything offensive but also failing to provide the listener with something tangible to grasp onto. At seven minutes, it s also far too long, and Prince uncharacteristically lets things build without ever allowing a climax. There s no Beautiful Ones soul-on-fire singing or delicious Purple Rain guitar solo/instrumental work, and I m left questioning just what the purpose was unless its monotony is supposed to be the point.

Away from that misfire and the occasional bit of rambling, the rest of the album is raring and ready to go. The hit Raspberry Beret is a wonderful pop confection and my favourite song on the disc, uniquely carrying its main melody on strings with a compelling narrative about a man losing his virginity to a woman who Wore a raspberry beret and if it was warm, she wouldn t wear much more . The chorus is truly irresistible, and worth the record s asking price all on its own.

Two of the album s other big successes were also singles, the first being the US release America . Although it employs what is a fairly standard lyrical framework for social critique (what people want to see vs. how things really are), the sentiments expressed are still quite viable, and the interesting skip effects at the start of the song quickly give way to a thundering funk beat with guitar and keyboard accents. My only criticism would be that the song could do with being a little longer Prince starts to add some cool guitar sounds towards its finish, and it would have been great to extend and expand them a little (into a solo, maybe?) The smart piece of talkback Pop Life is also great, a solid retort to questionable artists who have their music as a minimal priority ( What you putting in your nose is that where all your money goes? ) Also notable is the sample of a crowd roaring that appears towards its end, which is rumoured to be taken from an infamous supporting slot Prince had for the Rolling Stones that ended with him being bottled off stage. It s an interesting addition to the song, and the track itself echoes today, serving a good thematic reminder of how talented artists can often be forced to struggle while hacks occupy the upper echelons of the charts.

Delving further into the textured hybrids that form the backbone of the disc, the title track proves a fine introduction to the album s new spin on the Prince-verse, bubbling and piercing keyboards present in the foreground before pulsing percussive elements and sharp guitar plucks are incorporated. Then there s the fascinatingly off-kilter beat and crazed singing of Tamborine , a juddering three-minute excursion that abruptly blasts out before vanishing. The UK single Paisley Park is just as complex, defying easy categorisation but leaning closest to an art-rock style through its prominent opening licks and tribal-ish beats. Although it initially appears to lack a solid hook, a few listens help the song establish itself, and there s a good meter and rhythm to its chorus.

The album s two closing pieces keep up the unpredictable vibe, incorporating elements of gospel and being more obviously spiritually oriented. The songs are fairly reasonable (if veering towards pomposity at times), with The Ladder featuring a slow shuffling beat spliced with an acidic saxophone line and strong back-up vocals from various members of the Revolution. It does drag a bit, but there s enough movement to make the running time viable. Finale Temptation incorporates similar elements with a very appealing rock stance, and Prince confessing that his main vice is sex (to the surprise of no-one). It hammers along quite nicely, although some aspects are pretty weak (such as the spoken apology at the end, which would work as self-parody, but fails in this over-earnest context) but none of the flaws are enough to derail the overall, enjoyable experience.

Going back over Around A World In A Day , I think that it s an interesting and successful album that manages to be more stereotypically artsy without being unnecessarily pretentious in the process. That said, it s also worth saying that this is more of a secondary Prince purchase; a record you would buy after familiarising yourself with his earlier, less insular output and being willing to indulge in some of his more left-field moments (although Raspberry Beret is definitely worth getting early). Still, secondary purchase certainly doesn t mean second rate, and this is another fine record by a top-level artist.