Prince came into the new millennium with a revived sense of energy. One thing Henrique and I have been discussing recently is how much one can become frustrated chasing Prince’s career motivations. And I’ve recently found myself dealing with that. One thing that’s for sure is that Prince 90’s era output found him courting the present rather than making the future of music. With his 2001 release The Rainbow Children,the middle aged artist had re-emerged with the name that made him famous. And more so his musical trajectory had come back into better focus. Especially in terms of finding the funk.
The Rainbow Children didn’t come across strongly with the mass audience of its time. But four years (and two online only album releases) came his second album of the 21st century. It was titled Musicology. Interestingly enough,financial realities kept me from exploring the album when it was fresh on the record store racks. I would up picking it up two years later along with 3121 when that album was new. There is one common feeling I have about the album from when I saw a music video from it in 2004 to hearing it on the album. And its that the albums successes was likely carried heavily by the opening title song.
Prince’s yelp starts the song into a Clyde Stubblefield style funky drum starts out the song with Prince playing a deep strutting rhythm guitar. This is soon accompanied by one of Prince’s trademark middle to high on the neck chicken scratch guitar lines-along with an organ like sustained synth line. This is primarily the main body of the song. The solo drum bridge has Prince famously shouting ” don’t you TOUCH my stereo! these is MY records!” On the last few bars of the song,Minneapolis synth brass accompanies the song as it fades out on a radio dial switching between several of Prince’s 80’s hits.
In a similar manner to 1987’s “Housequake”,this song would’ve served well as a James Brown comeback for the early aughts. On the other hand,this song is much more purely a retro JB style rhythm section based funk stomp. But in its stripped down nature,it funks super hard. And Prince substitutes the live JB horns with his own MPLS style synth brass. Lyrically Prince is extremely nostalgic about funk on this song-alluding to Earth Wind & Fire,Sly Stone and of course James Brown. That along with its semi autobiographical seeming music video give it the feel of Prince looking to the past for his future.
Filed under 2004, chicken scratch guitar, classic funk, drums, Funk, James Brown, Minneapolis, Minneapolis Sound, Musicology, New Power Generation, Prince, synth brass
One of the keys to my personal understand of Prince would be flexibility. Expansion of ones tastes and thoughts would seem to be vital in order to have the appropriate appreciation for the art of Prince Rogers Nelson. Having reviewed and done at least two blog posts about the man already? It feels like exactly the right time to acknowledge the fact my experiences with his music spans across four decades-give or take a year or five. So on the man’s 57th birthday? I am going to run down,decade by decade, just where my path growing up intersected with his purple life.
There’s always a vague memory from a child’s point of view. But hearing “When Doves Cry” on my mom’s 45 RPM record of it,when it was brand new,was a very unusual musical experience for me. At the time? I didn’t know what I was hearing. On the beach near where we had a summer camp? The ground was littered with flat,slate like rocks with a red/indigo color that my mom referred to as “purple Prince rocks”. These rocks were collecting heavily in my room by the time I heard my next Prince song-a very choppy VHS recording my dad made me of the video to his song “I Could Never Take The Place Of Your Man”. This was Prince’s commercial prime-his public decade as an artist. I knew of him,but perhaps took him a little for granted.
When Prince elected to change his name (amid record company hassles) to an unpronounceable symbol in 1994? My first reaction was actually laughter and eye rolling. By that point? Most of the artists I deeply admired were involved in some very public scandal. I felt the media were unfairly projecting Prince as being insane. Naturally this attracted me to his music. First came The Hits/The B-Sides. After that,while revisiting the salad years of this back catalog up to that point? My first experience with new Prince music came via multi CD sets such as Emancipation and Crystal Ball. If the 80’s were Prince’s prime decade? Then the 90’s were the prime decade of my personal experience with his artistry.
Becoming an adult was a happy time for me to be an admirer of Prince’s music. Mainly because he was calling himself Prince again. Of course another aspect of being an adult during the immediate post 9/11 years kept me from the latest news on the man. While Prince was at last a creative free agent? I was personally experiencing a great deal of difficulty managing life on my own. Issues I still face,to some degree, to this very day. Interestingly enough? Being able to delight in the exciting funkiness emerging from new Prince releases of the time such as Musicology,3121 and MPL Sound had me rooting for the man’s success as an example to myself: that an artist could be successfully and creatively free at the same time.
It’s been an interesting six year journey with Prince by this point. One had has yet to be complete. This decade started off with me being very disappointed,annoyed and angry with Prince’s business choices. Not only was he electing to release little to no music. But his live shows never came close to reaching my area. Not to mention him turning his nose up at the internet. Which was at this point becoming an enormous aspect of my own creative expression on every level: literately,artistically and photographically. This has all changed within the last year or so. Prince has re-signed (on his terms) with Warner Bros. and released two new albums. With the promise of more. Also he’s released a single to raise awareness for the BlackLivesMatter initiative with his racially charged single in “Baltimore” as well.
One element that has been enormous in my understanding of Prince during the past decade and a half or so has been the enormous presence of third person perspective. Facebook friends such as Brandon Ousley,Henry Cooper and in particular Henrique Hopkins have been instrumental in providing often illuminating insights into the creative and personal character of the often elusive Minneapolis native. One element of Prince’s recent character I appreciate is his public advocacy of albums as a vital musical concept. Especially in the retro 50’s/post MP3 attitudes of single songs again being the main source for popular music. If Prince and my own life progress forward along a similar clip to this? I might at last achieve a full appreciation in my art of understanding of the artist and his motivations.
Filed under 1980's, 1990s, 3121, 45 records, albums, BlackLivesMatter, CD's, Crystal Ball, Emancipation, Facebook, Funk, MPL Sound, Musicology, Prince, The Hits/B-Sides, When Doves Cry