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Prince-One Year Later: “The Gold Standard” (2014)

Prince surprised a lot of people after a five year absence by releasing two albums on the same day: September 30th,2014 to be exact. It was an event that was just in time to be covered by this particular blog as well. Out of the two, Art Official Age seems to be the album that got the best response. During this time,Prince was expanding the NPG off into an all female side project called 3rdEyeGirl. The husband of one of its members Hannah Ford,Joshua Welton marked the first time Prince worked closely with an outside producer. Presumably to give his sound a more youth friendly sound for the 2010’s.

Welton’s contributions to Art Official Age were not as prominent as they’d be on the rather more modern teen EDM styled Hitnrun Phase 1 a year later. Prince was still ever deeply in control of the writing,instrumentation and yes-production on the former album. Still,its likely Welton’s presence reminded Prince of what made his music so appealing when he was at his most vital creative peak in the 1980’s. So with that Prince decided to reinvigorate his classic funk sound and came up with a song for the Art Official Age album entitled “The Gold Standard”.

A one note Linn drum kick starts of the song before a descending synth brass riser punctuates his slowed down rhythmically spoken vocal. The high on the neck rhythm guitar,slightly digitized live bass line and the accenting charts of the NPG Hornz. On the first bars, Prince is singing mainly with the drums and bass alone. Then the horn sections JB’s like charts take higher priority in the mix. The synth brass finally joins in with the live horns After a hand clap powered rendering of the chorus,a P–Funk synth bass initiates as bass/guitar/horn based cadence that fades out the song.

“The Gold Standard” brings together two different sides of Prince’s 80’s funk approach. His classic Minneapolis sound is represented by the brittle synth brass and stripped down arrangement. His rhythm guitar sound at its ever peak performance here as well. Aside from some modern production touches,particularly on the bass line,this also brings out his horn fueled mid/late 80’s period from songs such as “Girls & Boys” and “Housequake”. What it all does so well is showcase how much of an innovation for its time Prince’s condensation of funk was for the genres future-especially in the 2010’s.

 

 

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‘Sign O The Times’ At 30: Prince Bares The Cross Of His Time To Settle Down

Sign O The Times

Sign O The Times is the tale of three different Prince album projects. Because Prince was cutting edge in terms of the presentation of music as well as the sound of it,he recorded enough music during 1986 for three albums. Two of which were multi album sets. Those were The Dream Factory,Crystal Ball and an album credited to a pseudonym Camille. Due to Warner Bros. displeasure with so much Prince music coming out during a years time,all of this content was whittled down into a double album set. And it was all finally released thirty years ago today as Sign O The Times.

My own personal history with the album came with seeing a very choppy take of the music video for I Could Never Take The Place Of Your Man”,one of the albums rockier hits,on a VHS tape of music videos my father recorded for me at work from MTV. That was early in 1988. I first heard the hits for the album years later on the collection The Hits/The B-Sides. It was shortly after the albums tenth anniversary that I first picked it up on CD. I’d only read about it through Allmusic Guide before. And unlike with many written reviews,after hearing Sign O The Times so often I still totally agree with the guide’s positive assessment of the album.

Sign On The Times is generally considered to be either his best or most significant album of the 80’s. The obvious reason for this album being considered is best is probably because,even with Prince’s trademark eclecticism,all of the musical ideas and combinations on this album work perfectly for what they are. Its detractors sometimes point out how disjointed the album is. To the point of being highly uneven. In a way, that’s also why this album is so important. As my friend Henrique pointed out to me, its perhaps Prince’s best early use of his vault material. None of this music was meant to heard together,but it sounded as if it were.

Any album that managed to put such disparate music, all intended for different projects,into a context that had some semblance of conceptual unity is the sign of a highly creative mindset. In many ways,the internal maturity Prince seems to showcase throughout this album comes out in his approach to its presentation. Its not him so much trying to fuse different genres into a whole anymore. But rather showcasing his ability at playing funk,soul,dance and rock ‘n roll with equal vitality and identity. Writing my review on Amazon.com of this album was a bit daunting. But it did manage to convey more specifically what the album was musically.


I’m not sure what I can say that hasn’t already been said about what is very justly regarded as a classic album. Well maybe the best thing to do is discuss a little about why it might be so revered. In the three years or so since his commercial breakthrough with Purple Rain,Prince had been carefully balance creativity with his need to communicate with his audience. It was a restless struggle that’s basically defined his career and,to an extent his personal character up to this point. Somehow here he managed to make it all work.

Basically this is a double album pieced together from from three aborted 1986 album sessions and reworked into what ended up being one of his 80’s classics. As with any Prince album the sound is eclectic yet somehow consistent. On this album though the range of subject matter lyrically is much broader in scope and in a lot of ways more mature. During this time Prince was also interjecting strong live band and solo elements of jazz into his sound. It’s not only in the instrumentation but in the arrangements too and,not only that his production elements-especially his noted,inventive use of the LINN LM-1 drum machine is on full display here.

The title song here is a completely stripped down,pulsing musing on outwardly focused social ills of the day and very surprisingly became a big hit as well. There are also a good deal of genuinely sunny weather sounding pop/rock tunes such as the bouncy “Play In The Sunshine”. At the same time these songs,being that it’s Prince are not mere “fun” tunes and give you the full spectrum of weather as each song concludes with these minor chorded jazz-funk/blues instrumental bridges that express the human race’s duel consciousness very well.

There’s also a couple of dense,moody funky rockers in the explosive “It”,the tough grooving,hip-hop beat inflected “Hot Thing” and the stomping “Strange Relationship”. This album also offers up enormous doses of funk. Both the classic “Housequake” and “It’s Gonna Be A Beautiful Night”,with their precise horn charts and chunky rhythm guitars not only showcase the obvious James Brown influence but give a possible wink to out JB might’ve sounded had his career not been stalled after the mid 70’s and had he just continued on innovating.

So Prince is actually kind of picking up here where one of his musical heroes left off. There are also a series of songs here that just pull everything he does best together. One is the slinky,electronically polyrhythmic jazz-funk of “The Ballad Of Dorothy Parker”-one of my favorite Prince songs and one containing an intentionally misleading come on in the lyric. “If I Was Your Girlfriend” has a similar musical idea married to a lyric that plays on the idea about how opposite sexes may not relate to each other as well as they think.

“Forever In My Life” is a very poignant bluesy funk number that is about Prince maturing when it comes to matters of love. “U Got The Look” is one song here that does sound a little bit like his 1984 era material well,by degrees anyway although Sheila E’s percussion effects and the slicker production make it very distinctly it’s own beast. On an early nod toward what would later become known as praise rock “The Cross” has a very anthemic guitar god styled flavor and is one of Prince most rock oriented songs ever.

On the horn packed soul ballads “Slow Love” and “Adore” Prince is at his most sweet and romantic since the lyrics on his debut album For You. So across the sixteen songs on this album you get a Prince musically and personally in transition,augmenting his musical sound into yet another new territory while still keeping a foot in his original style. Also the lyrics illustrate Prince’s psyche in a similar place and in a way this stands as something of a peak of the stylistic progression he’d been working on since the 80’s decade got started.


Sign O The Times stands as a significant example,be it by accident or partial design, of Prince’s understanding of what his classic soul and funk progenitors had done. Artists such as Ray Charles were expert at playing many different kinds of music-from the soul style he innovated ,jazz and country music. And Prince was able to bring his own artistic personality to multiple styles here as well. It also showcased him in a new musical period too. It was one where he was no longer an on the loose partier. His outlook on nuclear war and other social issues here is not that of resignation anymore. Its one of concern for the future and a better life.

It was author Jason Draper who, in his coffee table book Prince: Life & Times in 2008, described the overall atmosphere of the album best. To paraphrase his words,the album jacket features an out of focus Prince in the foreground. He is walking away from what appears to be the set of a local production of Guys & Dolls. There is a glowing plasma ball in the center of it all. Draper speculated,and perhaps correctly so,that it was not only representative of Prince focusing more on music and less on the rock lifestyle. But also on Warner Bros passing on his planned releases as well.

Prince also delivered an album here that seemed to have provided a better viewpoint for music writers. My father described one such instance where Downbeat magazine (which is generally highly critical of even jazz releases) gave Sign O The Times a 5 star review-essentially describing it as Prince’s magnum opus. This was either in the late 80’s or early 90’s.  Now I can only relate my fathers story about this since I cannot find any confirmation in online archives for it. But it does speaks volumes about how the musical and personal maturation dealt with on the album has had positive results on even professional music journalism.

On its 30th anniversary,this album is also a shinning example to artists and producers who,today, inspired by Prince’s instrumental condensation of funky dance grooves. The Minneapolis sound has become the mainstream production approach now. But what is important for modern producers inspired by Prince is to take a listen to how even on these songs,most done by Prince himself,are possessed of strong chord changes and thick grooves. In fact, Sign O The Times should be experienced fully by any DIY producer/musician today before their next production because it remains that strong an album for that ethic.

My Favorite Songs From The Album For You To Hear:

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Anatomy of THE Groove: “A Love Bizarre” by Sheila E

Sheila E has been written about so well by blogger on here Zach Hoskins,in his segment about Prince’s female protege’s. Her back story is so well known,and that pulled it all together. It was my mom who gleefully encouraged me to pick up Sheila’s debut The Glamorous Life on CD on a 1997 visit to Rochester,New York. She has never been someone too emphatic about recommending music. But on this one,she was very insistent. Hearing the song had me interesting in hearing as much Sheila E as existed at the time. And luckily within the next 6-7 years,I had all her output up to that point.

In the immediate post Purple Rain period,Prince began pursuing a far jazzier style of music. He began augmenting the Revolution with horns-starting with sax player Eric Leeds. And the music he was producing for (and with) his proteges was really starting to reflect this. The songs continued to stretch out in length too. One such song was one Prince had recorded in August 1985. And it was actually done in very close collaboration with Sheila as well. It was the final track on the first side to her 1985 LP Romance 1600. It was called “A Love Bizarre”.

Prince’s classin LINN LM-1 with the flanger filter effect starts out as the main rhythm for the entire song. Than his round,popping synth bass comes in just before Sheila’s percussion. Eric Leeds’ presence on the song takes two forms. First there’s him playing the main vocal chorus of the song pretty much by rote. Than he continues with a jazzy improvisation throughout the rest of the song. Matt Bliston joins him of a very Sly & The Family Stone pitch dip on some of the rhythmic accents of the song. Prince provides a West Montgomery like guitar solo as the song finally fades out.

The central rhythm to “A Love Bizarre” is very basically funky. But its the many instrumental touches that add the bite to this driving groove. There are musical ideas from all across the spectrum of classic funk in the 60’s and 70’s. There’s the jazzy soloing on the final half of the 12+ minute opus. Also Prince’s guitar solo starts playing the melody for “Frere Jacques” on the bridge of the song. That rounds out to this being a strong collaborative effort between Sheila E.,Prince and his growing band. At the same time,its got that Minneapolis funk touch that just never quits.

 

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Filed under 1985, Eric Leeds, horns, jazz funk, jazz guitar, Linn Drum, Minneapolis Sound, Prince, Saxophone, synth bass

Prince 1958-2016: “1999” (1982)

Prince was one of those artists whose creative peak hit right around the same time as his creative juices were really flowing. He was the ultimate funk rocker of his day-doing everything he could to prioritize a hard groove while rocking out just enough for the musical demands of that era. And founds ways to challenge himself at doing both. By 1982,he was developing a reputation among musical oriented people as someone who was able to take all the elements of what he did,and strip them down to their most basic elements. Of being instrumentally simple without being musically simplistic.

Late in the year his his fifth album 1999 was released. It came out into a musical environment where MTV’s championing of music video was moving pop music ahead in the same way radio had in earlier decades. Not only was Prince’s visual flair helpful in this regard. But he also was more than aware of the social politics of the final burst of the cold war in America. Following the the USSR’s and USA’s actions in Afghanistan around this same time,the issue of atomic war was again on the map as the world contemplated a nuclear freeze. Prince drew on this impulse for the title track of his new album.

A slow,deepened voice opens this song telling us it only wants us to have some funk-eventually  to the beat of a Linn LM-1 drum machine. The Linn’s pulse is then joined by a sustained rock guitar and a dramatic synth horn. A snare heavy live drum begins playing behind this basic structure. This provides the general chorus and refrains of the song as Revolution members Dez Dickerson and Lisa Coleman trade of vocals Sly & The Family Stone style with Prince. On extended chorus at the end of the song,Prince asks “mom why does everybody have the bomb” over his funky rhythm guitar.

“1999” is one of those songs that is rhythmically stripped down but sounds extremely full at the same time. The fiery dynamics of the lead synth brass,now an iconic riff of the style,along with the layers of lead/rhythm guitars (from rocking to funky wah wah) lead this to be one of the hottest funk hits of its time. While its vocal trade offs and sunny melody come straight of the Sly styled flower power funk,it basically reflects the slightly cynical hedonism of wanting to party into the apocalypse. That combo marks this as the beginning of Prince bring his funk more and more to the masses in his musical prime.

 

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Filed under 1980's, 1999, Dez Dickerson, drums, lead guitar, Linn Drum, Lisa Coleman, Minneapolis, MTV, naked funk, Prince, Prince & The Revolution, rhythm guitar, synth brass

Prince 1958-2016: “If I Was Your Girlfriend” (1987)

Prince was an artist whose musical conceptualization helped me personally to view sexuality as an act of love,rather than as a profane taboo. Considering his classic soul music struggle between spiritual and carnal pleasures,that may be hard for some people to believe. But as far as that aspect of Prince’s talent,it really began to reach its peak in the mid/late 80’s. A period that I feel represents Prince’s creative peak as a musician. Prince was also on the cusp of becoming a 30 something during this period as well. This represented another stage in Prince’s emotional maturity.

Sign O The Times was the Prince album that illustrated this stage of his maturity most fully. Because of the time frame in which I heard it,the 1987 album reminds me of a long period during the 90’s that wasn’t paying attention to Prince’s new music. There is one memory from a rainy afternoon in 1994 when I was driving home with my parents from Strawberries Records. They had the radio on and this Prince song came on with a very deep and strange sound at the beginning. They shut it off before I knew what it was. When I finally heard Sign O The Times,I realized that song was “If I Was Your Girlfriend”.

That “strange sound” I mentioned begins the song over a three note LINN drum hit. Actually sounds like revving an amp’d up electric guitar at its very lowest notes. Then a thick slap bass pop breaks into the refrain of the song. Its a very slow beat accompanied by a trumpet like synth brass solo while foreboding layers of synth strings play along in the back round. On the refrains,Prince sings in a sped up falsetto along with mainly the drum and bass line of the song. Toward the end of the song,the bass line gets somewhat more intricate as Prince raps frantically with some operatic orchestration before the song stops.

Its taken me too long to realize that this is one of Prince true funk classics. The slap bass pretty much carries the entire song-one that TLC would also cover around the first time I first hear…well the intro anyway. Lyrically,this song finds Prince exploring a sexual double standard. His asking a lover if she’d undress in front of him if they were anything but lovers. Even saying by the end “we don’t have to make babies to make love/we don’t have to make love to have an orgasm”. Prince taking on romantic insecurity in this funky musical way was a major step in his evolution as a human being.

 

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Filed under 'Sign 'O The Times', 1987, Funk, guitar, Linn Drum, Minneapolis, Minneapolis Sound, Prince, sexual revolution, slap bass, synth brass, synthesizers

Prince Summer: “The Ballad Of Dorothy Parker” (1987)

During the mid/late 80’s,Prince was refashioning the MPLS sound into something far beyond its stripped down drum machine/synth brass based new wave style groove it started out as being.His music was becoming far more orchestral and jazzier-showcasing a more live instrumental approach and more improvisational horn charts and solos. In 1986 however, Prince was still close enough to his signature sound to expand on it with some of his newer musical ideas. This came to fruition on the unreleased album Dream Factory,which evolved into Sign O The Times.

When I first started collecting Prince CD’s,Sign O The Times was on my bucket list of albums in terms of introductions to his music. It was actually the last on this list I ended up getting. It was a 2 CD set that I actually had to listen to several times in order to gauge what each song meant to me. Looking back on it now,the album has o conceptual unity as its cobbled together from several unreleased sessions. Yet all the songs sound like they belong together. One of a handful of album tracks that really stood out for me on this particular,the top of that list would be “The Ballad Of Dorothy Parker”.

A drum kick on the Linn LM-1 starts out the song. A steady Linn drum track,with a number of call and response Afro Latin percussion accents and claps,remains the main rhythm of the entire song-save for another drum kick before another refrain. The bass line is an intricate,snaky movement sewing the song together. Prince provides a number of unique synth leads here. One is a high,pitch bent one that sounds almost out of tune. The other is a similarly toned line if a bit lower-both improvising on the series of melodies throughout the song until it ends on the same theme on which it began.

Especially since this same man sang “its time for jazz to die” in 1982,this song shows how much Prince had integrated jazz improvisation and Latin drum patterns into his one man band approach by the mid 80’s. Some of the unusual,improvised modulations of the synthesizers on this sound have a similarity to Joni Mitchell’s music,of which Prince was a major fan growing up. He even name drops her as an element in the story told by the lyrics-a rye musing on Prince being played by a cocktail waitress. In terms of his multi instrumental jazz/funk approach,this is among my very favorite Prince songs.

 

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Filed under 'Sign 'O The Times', 1987, jazz funk, Joni Mitchell, Linn Drum, Minneapolis, Minneapolis Sound, Prince, slap bass, synthesizers