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review:
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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