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catalogue number: w0147cd

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number of discs: 2
label: weton

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label: warner brothers
catalogue number: w467cd

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number of discs: 1
label: pid

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label: wea international

review:
timely five track aussie reissue of this classic single from 1982

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originally released 1983

number of discs: 1
label: Warner Brothers

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Prince's fifth album came right before the lascivious multi-instrumentalist became a huge star with his 1984 film and soundtrack, Purple Rain. But Prince had already proved himself to be the most audacious talent to emerge in the 1980s, and 1999, the bulk of which features Prince on all the instruments, reflects the dance-rock styles that he also brought to the acts he produced, particularly the Time. Prince knows how to run a one-man-band individual instruments don't blend together as much as they compete in a funky showdown which allows tracks like Automatic, D.M.S.R., and Delirious to sustain their long playing times. But the album's two enduring hits, 1999 and Little Red Corvette, outshine the rest, and define the essential roles that rock and funk play in Prince's music. Little Red Corvette is a sexy song about a car, which would have been enough to make it a terrific rock song even if it didn't also boast an infectious chorus and a great guitar part. As for 1999, count on it being the dance song of the millennial year--John Milward

Personnel:
Prince (vocals, various instruments); Dez (vocals, guitar); Lisa Coleman, Wendy Melvoin, J.J. (vocals)

Recorded at Sunset Sound & Uptown, Los Angeles, California.

With the release of this seminal double-album, Prince evolves from the minimalist synth-pop that powered such discs as Dirty Mind and Controversy into the pop genius that defined such quirky masterpieces as Purple Rain and Sign O' The Times. Were it only for the hits--the loopy bounce of Delirious, the moody slide of Little Red Corvette, and the irresistible title track (only Prince could have written the ultimate dance song for the turn of the millennium 18 years before the fact)--1999 would be essential. These tracks are as perfect as they are familiar from incessant radio play. The rest of 1999 holds up to the radio hits. Loose, nasty grooves like D.M.S.R. and Automatic are interspersed with the propulsive shuffle of Let's Pretend We're Married and the soulful, psychedelic pulse of Something In The Water. This is not average dance music. Prince's hybrid of rich, trippy atmospherics, '80s synth-y keyboard sounds, lush, asymmetrical harmonies, elements of rock guitar, soulful singing, and strong songwriting--all rolled together with beats--weaves dark, sexual energy into ebullient boogie anthems. 1999 is one of the definitive pop music documents of the '80s

review:
Wenn Mr. Love Symbol mit seiner Little Red Corvette durchs Portal des Jahres 1999 brauste, stieg nicht nur bei der Lady Cab Driver der Hormonspiegel: eine abenteuerliche Tour de Funk - und nach Sign O'The Times zweifellos der zweite Klassiker im Oeuvre Seiner Majestät.

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number of discs: 1

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originally released 1985

number of discs: 1
label: warner brothers

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What the Critics Say...

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number of discs: 1
label: Warner Brothers

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originally released 1994

number of discs: 1
label: bellmark

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The Most Beautiful Girl In The World was nominated for Best Pop Vocal Performance, Male in the 37th Annual Grammy Awards

For the artist still known as Prince, the next chapter in his career remains an open book. The graphic symbol, meant to represent his new identity, contains the seeds of a male and female persona, and if the artist has his way, will signal "...the dawning of a new spiritual revolution." But musically the artist still identified by his adoring public as Prince is plumbing the same blissful, hippiefied mix of the sacred and profane that cemented his super-stardom. In this case, it's a variation on the old "how do I love thee, let me count the ways" theme. The Most Beautiful Girl In The World is given seven different instrumental and vocal treatments by his latest edition of the New Power Generation

The opening treatment emphasizes Prince's beautiful harmonic sensitivity, both featuring the leader's keening falsetto. Staxowax is grinding funk with hip-hop overtones, while his Mustang Mix is a nod to the popular romantic style currently in vogue (a la R. Kelly). All in all, Prince by any other name, still sounds sweet. Longtime fans can take heart: his creative envelope is ever-expanding and as his instrumental mixes demonstrate, from the delta, to the church to the streets to the outer edges of infinity, Prince remains a force to be reckoned with

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originally released 1987

number of discs: 1
label: warner brothers

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review:
Leave it to the artist formerly known as Prince to end his 18-year relationship with Warner Bros. Records by handing over a somewhat ragtag collection of tracks initially "intended 4 private use only." Who else would cast aside the elaborate wrappings of his previous release, the Gold Experience, in favor of a crude photo collage apparently cobbled together in one afternoon with the aid of a home computer and a color Xerox machine? And who else would assure that said album was actually a pretty good checklist of many of the things this frequent genius does best? Even when lyrics appear deliberately puerile (Dinner With Delores), Prince is often able to salvage the song with a cranked-up guitar (he plays a lot on these 11 cuts) or a catchy chorus. I Like It There is a metal-pop lust-anthem that's both slight and undeniable, the way Raspberry Beret was. ("More than I love my hair!" he exclaims in thrall to, presumably, wife Mayte.) The Same December takes a similar musical tack to extol the Book of Revelation theology that fueled past classics like the Cross; in a nod toward a more earthly deity, the vocal phrasing at song's end ("Uh, you only know what you know") is one of Prince's subtlest Hendrix tributes. Chaos ends with a big, lovely tease. Nearly orchestral guitars fanfare Had U, which turns out to be less than a minute and a half long. Prince delivers a kiss-off note that, over this truly promising gorgeousness, turns out to be the most articulate and moving thing on the record. It's a frustrating ending, but one that trips you up. How mad, after all, can you get at someone who can summon those sounds, if only to drop them off in a cul de sac? This kind of nonclosure signals that Prince knows just how tossed-away, but listenable, Chaos and Disorder is--Rickey Wright

Personnel:
Prince, Kirk Johnson, Rosie Gaines, Scrap D., Steppa Ranks, Michael Mac

The New Power Generation:
Mr. Hayes, Tommy Barbarella, Sonny T., Michael B. The NPG Hornz: Michael Nelson, Steve Strand, Brian Gallagher, Kathy Jenson, Dave Jenson

Recorded at South Beach Studios, Miami, Florida and Paisley Park, Chanhassen, Minnesota.

For his farewell to Warner Bros., Prince digs into his vast musical closet and emerges with a guitar-led rock ensemble to rival his earlier (think Purple Rain), harder-edged albums. As with any fashionable dresser, Prince realizes the importance of accessorizing, and what he presents is rock-tinged with elements of funk and the blues. He kicks off with the title track, tongue-in-cheekily dubbing himself a "no name reporter" and commenting on today's world: "Carjack/Used to fix flat tire." The mixture of guitar and organ riffs, samples and record scratching on this song may seem chaotic, but it works. Prince's wailing vocals and heavy guitar riffing are right at home in the straightforward I Like It There. The album's longest song, I Rock, Therefore I Am, is a masterfully funky affair that combines both West Coast and reggae rap styles with jazzy horns and rocked-out guitar soloing. Prince has always been an icon of style, and his music has reflected his eclectic tastes. is a well-crafted piece tailored to the enigmatic guitarmeister's rock specifications. From Prince's closet to your ears

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label: Warner Brothers
catalogue number: 9362457002

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Prince & The New Power Generation:
Prince (vocals); Mayte (background vocals); Tommy Barbarella, Sonny T., Michael B., Mr. Hayes

Additional personnel:
Eric Leeds (flute); Mike Nelson, Kathy Jensen, Dave Jensen, Brian Gallagher, Steve Strand (horns); Ricky Peterson (keyboards); Airiq Anest (programming); Kathleen Bradford (background vocals)

Engineers:
Chronic Freeze, Ray Hahnfeldt, Tom Tucker, Prince (all tracks)

Recorded at Paisley Park Studios, Chanhassen, Minnesota; the Record Plant and Larrabee Sound Studios, Los Angeles, California

All songs written or co-written by Prince

For the artist intermittently known as Prince, the notion of spiritual death and rebirth has become the predominant theme in his work. Thus on the track Solo, with its eerie liturgical ambience, sampled thunder and moody harp, Prince sings a keening falsetto confession: "Solo, my name is no one." Accepting all that as a given, this richly orchestrated set has the exploratory sound and feel of a classic Prince album, except that Come seems to be an attempt to explicate his legend once and for all (Letitgo), to make way for a new...well, your guess is a good as ours. The title tune mixes carnal and spiritual imagery in the classic Prince manner, as that ecstatic voice testifies over jazzy horns, big-band chord changes and a fat, greasy backbeat ("If you had a chance to see the future, would you try?")

Elsewhere, the sampled waves which open and close Come act as a recurring leitmotif, as Prince explores a series of jumpy dance grooves (Pheromone and Loose!), a moody tale of child abuse (Papa), a strutting R&B/hiphop anthem (Race), a brassy gospel-blues confessional (Dark) and an explicit girl-guitar ecstasy (Orgasm). On Come, Prince appears before us one last time, a reminder of things past, a harbinger of revolutions to come

What the Critics Say...

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originally released: 1981

number of discs: 1
label: warner brothers

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Written, produced, arranged, and performed by that little old funkmaster, Controversy hit stores in 1981 and still rocks 17 years later. As the title suggests, the subject matter Prince tackles here was meant to spark discussion. From the nasty anthems Sexuality and Do Me Baby, to the slice of '80s political commentary Ronnie Talk to Russia and Annie Christian, Prince does just that. Oh, and he doesn't forget about the booty either, making this the ultimate agit-prop, sex-you-up soundtrack--Amy Linden

Personnel includes:
Prince (vocals, various instruments); Lisa Coleman (keyboards, background vocals); Dr. Fink (keyboards); Bobby Z (drums)

Engineers:
Mic Guzanski, Ross Pallone, Bob Mockler

Controversy is the fourth release from Prince, and it continues in the tradition of his debut Dirty Mind, with funky rhythms, throbbing electronic accents and titillating lyrics. Featuring the successful title cut and the club hit Private Joy, Controversy works off Prince's infamous juxtaposition of sex and religion. This is explicitly depicted in songs such as Annie Christian and the sultry ballad Do Me, Baby where during a long instrumental sequence, his sighs blatantly indicate carnal activity. As with many of his recordings, Prince maintains complete creative control here by handling all the writing, playing and production himself

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label: msi/wea

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number of discs: 1
label: Warner Brothers

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number of discs: 4

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review:
This work is about all of the stuff that couldn't be released, that wouldn't be released by Warner Bros.. Its a very good work, very good because we get to see the inner workings of how Prince thinks and what he may've opted for song one verses another

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review:
At its best, Prince's biggest seller of the '90s is an archetype of seemingly casual inspiration, thanks mainly to the ease tracks such as Cream, Money Don't Matter 2 Night, and Willing and Able exude. Of course, he's working as hard as ever, whether in a mellow groove or an aggressively funky one (Gett Off). Compared with the masterpiece Sign o' the Times, Diamonds and Pearls is a minor creation, but it's one for the long haul--Rickey Wright

Prince & New Power Generation:
Prince (vocals, guitar); (rap vocals); Rosie Gaines (vocals, keyboards, organ); Levi Seacer, Jr. (guitar, background vocals); Tommy Barbarella (keyboards); Sonny T. (bass, background vocals); Michael B. (drums); Kirk Johnson, Damon Dickson (percussion, background vocals)

The Artist Formerly Known As Prince releases albums a bit like Stephen King writes books; with mind-boggling speed and an equal measure of royal success and passionate failure. On the groove- savvy Diamonds and Pearls, the diminutive one made an impressive rebound after the less-than-stellar graffiti bridge, with his most consistent and vibrant album since 1987's brilliant Sign O' The Times. Apparently aware of the powerful influence of groups like NWA, Public Enemy and Tribe Called Quest, Prince tried his hand at the harder genre, unleashing vocalist Tonio M. for cocky raps on songs like Daddy Pop and Willing and Able

As always, Prince indulges happily in his erotic wanderings, with the guttural grooves and propositions of Cream and Gett Off leaving little to the imagination. However, it is the laid-back groove of the insightful and simply sung Money Don't Matter which is the quiet highlight of Diamonds and Pearls. A thoughtful reflection on disillusionment in love, business and politics, Money Don't Matter is perhaps Prince's most overlooked four-minute masterpiece

What the Critics Say...

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number of discs: 1
label: warner bros
catalogue number: we 739

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originally released: 1980

number of discs: 1
label: warner brothers

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On this 1980 tour de force, Prince produced the template for most of his '80s albums: a mixture of lust and longing, synth pop combined with gut bucket rock and roll. Although this was his third CD, Dirty Mind was the one that truly established When You Were Mine, which still ranks as one of his best songs, ever. The gender- and race-bending Dirty Mind was nasty and freaky--and you could dance to it. Still can--Amy Linden

Personnel:
Prince (vocals, various instruments); Lisa Coleman (vocals); "Dr." Matt Fink (synthesizer); Bobby Z (drums); Dez Dickerson, Andre Cymone

Dirty Mind is the most focused and uncompromising of Prince's early albums. In 1980, the Purple one wasn't a superstar, he was an undeniably gifted weirdo, sort of a funk/R&B Todd Rundgren, composing, performing and producing everything himself. His singular vision combined a driving, spare R&B style driven by danceable drum machines, funk guitar and colorful synths, (a palpable new wave influence is also at work here) with a near-scandalous attitude towards sex. The unprecedently graphic lyrics of tunes like Head and Sister make rock & roll rebels of the past decades look like uptight puritans. Prince hadn't yet developed the panoramic production style that would define his greatest '80s album, but this leaner, more direct sound suits the visceral material well

What the Critics Say...

number of discs: 1
label: msi/wea

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label: cold spring

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