With
Dirty Mind,
Prince had established a wild fusion of
funk,
rock,
new wave, and
soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album,
Controversy,
Prince revamped his sound and delivered the double album
1999. Where his earlier albums had been a fusion of organic and electronic sounds,
1999 was constructed almost entirely on synthesizers by
Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the
electro-
funk experiments of several underground
funk and
hip-hop artists at the time.
Prince had also constructed an album dominated by computer
funk, but he didn't simply rely on the extended instrumental grooves to carry the album -- he didn't have to when his songwriting was improving by leaps and bounds. The first side of the record contained all of the hit singles, and, unsurprisingly, they were the ones that contained the least amount of electronics.
"1999" parties to the apocalypse with a
P-Funk groove much tighter than anything
George Clinton ever did,
"Little Red Corvette" is pure
pop, and
"Delirious" takes
rockabilly riffs into the computer age. After that opening salvo, all the rules go out the window --
"Let's Pretend We're Married" is a salacious extended lust letter,
"Free" is an elegiac anthem,
"All the Critics Love U in New York" is a vicious attack at hipsters, and
"Lady Cab Driver," with its notorious bridge, is the culmination of all of his sexual fantasies. Sure,
Prince stretches out a bit too much over the course of
1999, but the result is a stunning display of raw talent, not wallowing indulgence. ~ Stephen Thomas Erlewine
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