Purple Rain (Sdtk) - Prince (CD 1987)

Well, this is the biggie. While Prince s 1982 album "1999" had introduced him to mainstream audiences with crossover hits like the title track and Little Red Corvette , 1984 s Purple Rain was the release that made him a superstar. Its eighth track Baby I m A Star couldn t have been any more predictive the image of Prince with his purple suit and Harley is up there with Thriller-zombie Michael Jackson and Boy-Toy-wedding-dress Madonna as far as defining eighties iconography goes. But while fashions have changed, Purple Rain is still a great record. Gone are "1999"'s extended dance jams, replaced by nine taut and succinct pop/rock/funk tracks that all scream single . Indeed, most of these songs were singles and successful ones at that, incorporating a pantheon of styles and doing each one well.

Aside from the song lengths, the other big change from "1999" is that Prince now has a fully formed band (the Revolution) backing him, which means that the tracks have more sonic layers. Most importantly, while each one is catchy and produced for maximum aural pleasure, the hooks and melodies are balanced by a greater sense of emotional texture that lies just beneath the surface. In short, you can both love the tunes and beats, and dive deeper for greater meaning Prince s hedonism/spirituality philosophy is evident throughout, but kept at a reasonable level as to maintain a little subtlety.

One thing I found fairly interesting when I heard Purple Rain for the first time was that its two No. 1 hits were among the last to really grab me. Of course, in this instance that means they hit on my second listen rather than the first, which is pretty good going. Let s Go Crazy kicks off the synth-parade with a warped organ, with Prince delivering a sermon that emphasises the rewards of the afterlife for those who weather the storm. Between its dance-friendly beat and bouncing keyboard lines the song also delivers a wonderful guitar solo, making resisting temptation sound like the most spectacular, amazing thing you could ever do. It s a wonderful start to the record, and places all its cards straight on the table.

The other big hit here is the instantly recognisable When Doves Cry , which has the innovative distinction of being a dance song without a baseline. A blistering guitar intro sets the mood before the intricately programmed synth attack sets in, with a subtle yet intoxicating melody delivered through a tight vocal arrangement. Once again, the guitar work is invigorating and skilfully played, making the song a good indicator of Prince s talents both individually and cumulatively.

As enjoyable and creative as those songs are, I find myself most strongly drawn to the two ballads, which I feel are among Prince s finest. The Beautiful Ones is notable for being the least traditionally catchy track on the album, but its plodding tempo is compensated for by a vocal delivery that steadily grows in emotional intensity. Calm restraint gradually transforms into pained sing-screaming, and the abrasive vocals are utilised to fully detail the heartache and loss described in the lyrics. The iconic title track is even better, casting aside all accusations of pomposity with a powerfully written vocal melody, excellent chord structures and a spine-tingling guitar solo in its second half. In fact, the affecting instrumental section surpasses the feeling of the vocal one, and I wouldn t want to alter a single note of the song s nine-minute running time in fear of damaging the power of that slow, graceful build-up.

Besides the ballads, I m also pretty impressed by the two shortest songs. I Would Die 4 U is an effervescent synth-pop snapshot, while Take Me With U is a swirling duet between Prince and co-star Apollonia (who is pretty much the only reason to watch the Purple Rain film). Rolling drums gravely lead the way, with buoyant string samples promptly lightening the mood. As always, the rhythms are paced well and full of kick, and crowned with both a memorable melody and flirtatious vocal exchanges.

As for the remainder of the record, I guess that Darling Nikki is best known for sparking Tipper Gore s censorship brigade, thanks to its ample use of the world grind and the title character s predilection for magazine-based self-love. It s a shame that Tipper didn t take the time to listen to the backwards-masked section towards the end (expressing belief in the arrival of a Saviour), but I suppose the light-hearted lyrical smut was just too much to take. If anything, I think the true kink of the song is best delivered in the way it switches from a two-note synth pattern to a full out funk frenzy, which amplifies the sexual atmosphere far more than any lyric could. To Tipper s relief, things are much less moral-guardian baiting on Computer Blue , which is probably the most minor thing on the record, but maintains the straightforward pop blast with a unique introduction from Revolution members Wendy and Lisa.

Overall, I would say that Purple Rain is a definite keeper, with each of its songs showing imagination, complexity and strong craftsmanship. The technology used in its creation may no longer be cutting edge, but the quality of the music itself has certainly endured, and it continues a run of strong Prince albums that accurately highlight all of his talents. Highly recommended.