1999 - Prince (CD 1983)

Although previous releases such as Dirty Mind and Controversy had made electro-funk maestro Prince a critical hit, it wasn t until 1982 s double album "1999" that his commercial reception reached equally rapturous levels. Originally running across four vinyl sides, "1999" consists of seventy minutes of meticulously measured synth-dance pleasure. Above all else, this is a party record, and while dissuading being over-cerebral about it would be a disservice to Prince s talents as a composer, you are simply not going to enjoy this album if you don t like getting your dancing and drinking shoes on.

Fortunately for me, I m quite happy to do both of these things, and the thumping onslaught of beats here is very satisfying. While many post-disco dance releases would rely on endless chorus loops or tuneless soloing, this record shows how extended grooves can be done right. Four of its eleven songs stretch past the seven-minute mark, yet Prince continually mixes things up, inserting an array of cool sound effects, spoken passages and a few spicy sexual sojourns. In terms of lyrics, the outward appearance is of a celebration of sex and dancing, but diving a little deeper under the surface reveals a few extra political and sociological layers, which are good for adding thematic weight to the lengthy cuts.

Maintaining the sexual metaphor, the first three songs on "1999" can be considered a musical foreplay of sorts, giving the listener a chance to limber up before the record s full-on synth attack. Each of the tracks was a notable chart hit, and acted to make Prince an artist to be reckoned with. Most people will be familiar with the six-note riff that characterises the song "1999", which hides a deeper meaning beyond its celebratory, snappy arrangement. Instead of being a straight-up dance number, it creates a pre-apocalyptic wonderland, anticipating an imminent realisation of the Cold War and deigning to dance and simply enjoy whatever time s left. Little Red Corvette follows, an irresistible tale of a casual hook-up even as the protagonist notes Baby, you re much too fast . The song utilises what is now a commonplace riding metaphor at its core, but makes up for it with an addictive chorus, piles of atmospheric synthesisers and a great little guitar solo. Delirious polishes off the singles, being the most lightweight of the three but still bubbling over with a perky synth riff and an infectious delivery.

Once you ve been eased into Prince s dance fantasy world, the full throbbing experience begins with the workout trio of Let s Pretend We re Married , D.S.M.R. and Automatic . All three are lengthy jams where the beat just keeps on hitting although in all fairness, each could have been cut by two minutes. That said, the amount of variation crammed into each song is enough to keep them fresh, and by the time I find myself feeling bored, there s usually only thirty seconds left to go anyway. Let s Pretend We re Married initiates the dip into full-on dance mode, a drum machine hammering an insistent pattern over Prince s proposals for an extended bedroom session. The arrangement is well planned with a decent bass riff and enough vocal hooks to keep your feet moving, but the dance grooves hit their peak on the sweaty thud of D.S.M.R. , which extols the virtues of dance, music, sex [and] romance . It s an eight-minute party manifesto carried by the strength of Prince s persona and a memorable vocal delivery, and one of the highlights of the record.

If you re listening to "1999" in its intended context, by this time the alcohol should be freely flowing, and time starting to lose all meaning. And in all honesty, who cares about time when the groove is so good? With "D.S.M.R." you ve got your snide little synths playing a descending melodic line, bass and guitar flares, a few fun drum interludes, and most of all a great refrain. If you re still not feeling the groove by the time the nine-minute love ode Automatic is done, it s safe to say that this isn t the record for you. Like the others, Automatic is a solid slice of engaging fun with a chameleon-esque set of musical transitions, Prince being alternately sleazy and sexy with his sung and whispered promises. I guess you could cut it down a little, but I m happy as long as that beat keeps thumpin .

After three singles and three gigantic monsters, "1999" unfortunately stumbles for two songs. I m not sure quite what Something In The Water (Does Not Compute) and the dull-as-dishwater ballad Free are doing in the middle of a party record, but they re aurally akin to having a bucket of ice water tipped on you in the heat of the pivotal moment. The former at least gains recognition of shifting the album from the main event to its afterglow section, but aside from a few cool power down synth effects and wild screaming vocals, I find little of interest there. Likewise, Free is all too content to simply be, offering some passable discussion of patriotism but neglecting to attach it to anything memorable.

As "1999" draws to a close, Prince has the sense pull out more A-material, as evidenced by Lady Cab Driver . An eight-minute slice of relaxed funk, it mixes more political commentary with an unforgettable mid-section where Prince and said cab driver hop in the back seat. Backing vocalist Jill Jones contributes a number of hilariously over-the-top moans as Prince delivers a series of verbal thrusts at the established hierarchy, and you re left with the option to take the song as a straightforward sex jam or deeper social statement. He s clearer about detractors on the relentless drive of All The Critics Love U In New York , with the quietly dropping synths in the chorus and a spoken set of vocals compensating for the fairly monotonous main beat. Things finish with the slightly jazzy ballad International Lover , complete with plenty of aeroplane imagery ( You are flying aboard the Seduction 747 ) and a calm tone that solidly concludes things. This final duo is nowhere near the level of Little Red Corvette or D.S.M.R. , but they provide a worthy cool-down from the dance-floor-destroying assault of the first half.

Taken as a dance album, "1999" pretty much does everything you could want it to, providing unbeatable grooves with some strong melodic singles and plenty of creative dance arrangements. It s an incredibly enjoyable record accepted for what it is, but the long length will almost certainly put off Prince virgins, who are best off starting with Purple Rain . However, for anyone more familiar with his output, it s a great set of songs, and rightfully set Prince on the path to superstardom. 4 stars.