A CELEBRATION: THE GOLD EXPERIENCE

THE GOLD EXPERIENCE

In the time between Come and The Gold Experience my life was turned a little upside down. A close friend had past away just prior to the release of Come, and just prior to The Gold Experience a long-term girlfriend and I parted ways. It was a time when I felt lost, and unsure where my life was heading. One constant I could count on was a new release from Prince. And that release was The Gold Experience.

I was still at university, finishing up my degree and working part time at a record store, one of the major benefits was getting advance releases. And the day the rep brought me in The Gold Experience, I hurried home to listen to it. Having come off a 12 hour shift, I was beat and decided to listen to the album as I lay in bed.

Turning out the lights, I turned on the CD player and lay back. And with the swirling synth intro I was curious what was to come. This was the first official album release from “The Artist”. How was it going to differ to a Prince release? Would it? Or would it be like discovering a new artist with a new sound?

The warped guitar intro to P Control and the grooving beat told me that despite the clarifying introduction as “your captain with no name speaking” maybe the Artist wouldn’t be that removed from Prince after all. With it’s commentary on the inherent power a woman has if she takes pride in herself and demands respect, it seemed at times at odds to the samples of “are you ready for the best pussy you ever felt?” Or maybe I was missing something. Either way I was a bit lost to it, and the track never really grabbed me.

And with the official introduction to the New Power Generation and it’s myriad of experiences, it seemed as if The Artist wanted us to see each track as it’s own journey, a mini story or concept within a larger experiential concept album.

A smile crept across my face when the first notes of Endorphin Machine fired up. It took me back a few months to when I was playing the Interactive CD-Rom and made it to the end to be presented with this gem of a track. Mixing the best elements of a Prince rock meets funk track, it purrs like a finally tuned machine, instantly sending a charge through your body. And finishing with what I assume was “Prince is dead” I awaiting the true awakening of The Artist. For me Endorphin Machine was where the album started.

Then Shhh erupted from the speakers with that sublime drum fill intro that is just power packed with rolls and accents. I remember once the breakdown started, I rewound the track and played that intro 4 more times. It was only when I felt I would be able to play it next time I sat at my drum kit I played the rest of the song. Originally recorded by Tevin Campbell, here The Artist takes the song back and reclaims it as his own giving it the right mix of passion and desire that only he can. And with Michael B anchoring the songs power in momentarily build ups, and that wondrous guitar solo I was immediately into the song.

Harking back to The Sacrifice of Victor, We March grooves or should that be marches along to a semi new jack beat, layered with effected samples. Lyrically watered down, We March failed to have the same sort of social commentary impact that earlier works had. It just felt a bit lite.

And then The Most Beautiful Girl in the World hit. Contrasting the lite sound of We March, TMBGITW is a lush, rich serving of pure pop. Everything about this song is well crafted. A slightly altered arrangement to the single version of several months earlier, you always got the feeling Prince had this song ready for COME but decided to wait until he was FREE to release it on his own terms. This song easily seduces the listener, it’s at once romantic and passionate, and manages to just swirl around you sweeping you away with its beauty. A signal to the critics and record buying public that no matter what the moniker the talent was still there.

Dolphin with its cross panning guitar strum intro travels back to the psychedelic Britpop feel the song embodies. This is the 60s sound refashioned for a new generation. Immediately catchy, the song seemed to fall just short of taking us somewhere new. Whilst certainly not filler, it wasn’t killer either. In fact the most intriguing part of the song is the last 40 seconds with the warped carousel feel and off beats.

Preannounced as the party jam dance track of the album, NOW packs a funky vibe into a head bobbing groove. You get the feeling that Beck was listening to this when he started recording Midnight Vultures. Reflecting more of the sample led music of the era, the song is filled with little hooks rather than melody, the guitar line, the horns, the break down all mixed in this musical brew and boiled to perfection.

319 with its Peach influenced groove, steps it up a notch and adds a little more funk to the rock. It’s like revisiting Dirty Mind in parts, and the whole private centrefold session paints a pretty picture in ones mind – dirty or otherwise. A cheeky little track that always raises… a smile. Hot, it is enough to put a glitch in the experience computer.

Shy had an immediate appeal for me. With a stripped back arrangement the song’s vocal melody and sing song nature betrays the tale of desolate side of inner city living. This song is just beautifully filled with haunting arrangements and solace. The acoustic guitar gives it a more organic feel, as if presenting a more honest look. One of the most underrated songs in the catalogue.

A classic funk groove grounds Billy Jack Bitch, and from the opening synth slides it reminded me of D.M.S.R. which of course is never a bad thing. A standout track on the album, here he doesn’t seem to be rehashing old songs like some other tracks left me feeling but instead he seems to be reinvigorating them. I longed for a 12” remix of this, but alas it never came (that I know of). Still to this day a song that makes me want to get on down.

I Hate U was a tough song for me to listen to, as it seemed to embody everything I was going through at the time. Each unfolding line of vocal seemed to strip away at my heart and I remember sitting there in the dark and feeling that pain, feeling that hopelessness and that inability to move on. A bittersweet love song in the grandest tradition of done me wrong songs. And still to this day I can’t hear it without some of those feelings rising up again.

Like a broken heart, the final operator segue malfunctions but like how all pain passes we are finally welcomed to The Dawn. And this dawn is Golden. It seems fitting that Gold had a optimistic feel to it despite the trials and tribulations it documents. The song is always refreshing to listen to and the perfect end for the album.

Whilst the album seemed a bit of a mix bag with too much old ground being trodden, it still holds a few gems that makes the moment you pop it on after a long absence a welcome return. It is also an album that finds an artis lost in his own identity, and a new journey that will ultimately lead to a true rebirth, a true emancipation.


Swa

hopefully by now u have heard the xtended BJB

Love the album.

Nice review...I though the smile creeping across your face was a little leggy.

An absolute classic album. Now I gotta break it out again. And that extended BJB is ridiculous...

I prefer the version of P. Control on Crystal Ball.....sounds less cheesey and the louder beat improves the rap imensley ...also I love Dolphin, Oh and dnt like the version of TMBGW on Gold either ...but great review always nice 2 read sum1 elses views on albums ...NOW is the bomb!

Must be the week for Gold as I popped into the car's player and have been rocking for last couple of weeks. Not a bad CD.

"Gold X"..was a very good album...Dolphin actually became my favorite song on it.. The album actually had a theme to it....I was so glad he did Shhh over because Tevin just wasnt believable singing it..it had a nice flow to it and i was pleasantly surprised,Even though i knew these were still previously recorded songs..it was all good

Best album of the 90's, hands down.

SavonOsco said:

A masterpiece....

The Gold Experience is on level with the 1980s albums imo.

Hello... I'm Come funkateer 'Danceelectric'
from Housequake.com

I also have bittersweet memories of that moment in time. I was travelling with friends through Europe in the trail of the tour and I saw this concert in Belgium, The Netherlands, the UK and maybe even in France (I'm not sure).
Later some of those friendships went sour, but I cherish the fun we had during those golden days.

I remember being totally blown away by Shhh live and the finale with Gold and the explosion of gold glitters falling from the ceiling.

Dolphin is also one of my favourites but somehow it didn't really cut it live. Too bad he hasn't played it since....

TGE is absolutely in my top 10 of favourite albums !

Interestingly was in Dunedin (New Zealand's answer to Scotland) and was nuts about Prince/Symbol in first year uni (Even had a letter from my Mum telling me "Don't waste your money on Symbol albums" etc) didn't listen to that, September 95 checking everyday at the Wrekkastow in Dunedin for new Prince album, finally there and I was told I was the only one who bought it that day (No hoarding, posters anything, just in the new releases pile). Took it back to my dorm and just loved it from the first note of NPG operator to the last words of "You are now officially a member of the NPG, Welcome 2 the dawn"
Once again, The God had served his worshippers I thought. Trashed the album out over the next summer and winter 95/96 and virtually up to Emancipation the next year (Even remember my Mum getting angry at me when she hopped in the car and turned it on to hear Billy Jack Bitch at full bore) I was 19, I didn't have a car then.

Another solid A effort.
Favourite songs, Dolphin, Gold, Most Beautiful girl and amazingly I hate U it just grew on me that song (I'm gonna cover your ass with this sheet)

Best.




Album.




Ever.










[Edited 7/3/09 7:02am]

I agree with Dave1992 that it is a really good album.

I listened to it over and over again, and it reminded me of the Symbol Album in many ways, but minus some of the bloat.


I disagree, however, with Dave1992's reckless behavior. It's so embarrassing.

C:\Otaassk~.exe




Seriously, this thread makes no fucking sense: http://prince.org/msg/15/321025

vivid is my new boo!

the gold experience album was one of the best he did in the 90's....

cos he had the best drummer michael bland ...

Swa said:

Fabulous

To this day I can not for the life of me see what people hear in this album.

From "We March" the NPG operator stupidity, "319", "Now"....so lame.

I cringe whenever i think of what became of Prince, ...and this dumbass album personifies it and all his 90's output.


I do cherish my "I Hate U maxi-single" for the Eric Leads flavored version.
[Edited 7/3/09 23:43pm]

It's an alright album. People really soup it up like its the H-bomb of Prince's 90's work. Come on the other hand to me destroys the GE. It flows better and has that classic Prince sound whereas GE has that Emancipation rehash sound from 95 to 98.

Imago said:

I LOVE this album and agree that it stands proudly with the best of his '80s albums. It seemed like Prince was finally engaged and interested in creating new and challenging music again after years of coasting. Come could have been a great album but it seems like Prince intentionally sabotaged it.

"P Control" is a fantastic opener. You gotta love the bass and synths on this one. "Endorphin Machine" (even with the cow bell) is one of Prince's better rock numbers. "Shhh" and "I Hate U" are two of Prince's very best ballads of the '90s. (Can you call these two songs ballads? They both rock like hell.) "We March" and especially "Now" are two great funk numbers with a new sound from Prince. "Dolphin" and "319" are two more great rock tracks, I love the beat of "319." "Shy" offers another new sound from Prince. It's a fairly stripped down track but it manages to capture your interest. "Billy Jack Bitch" is one of my favourites on the album. Love turning this one up loud. "Gold" seemed like an attempt at another "Purple Rain." It falls a little short but it's still a great song. That leaves one song: "The Most Beautiful Girl In The World." Eh, I was never a huge fan of this one but Prince has had worse ballads and one duff track is hardly enough to sink this superb album.

I think it is a shame that more material from this era has yet to surface. For me Prince had two eras where he was really cooking. The first was circa 1983-1986 and the second was circa 1993-1996. Hopefully someday more of the '93-'96 era will be released, possibly in a chronologically assembled box set.

rialb said:

I just don't get why so many fans rate this album.

I love 'P Control' and 'Billy Jack Bitch', but the rest just leaves me feeling queasy.

To this day, I can't listen to 'Gold' with it's rhyming of "gold", "cold" and "sold" and door-bell synth line. It sounds almost like a Eurovision entry from Latvia, circa 1991.

'Dolphin' is atrocious. Those lyrics... I used to write poetry like that when I was 15 years-old, believing that I was deeply profound and "clever" (instead of embarrassingly naive).

'Sssh' sounds like a five minute drum solo masquerading as a melody.

'We March' is 'Race' and 'The Sacrifice Of Victor' rehashed.

'319' is 'Kiss' without the minimalist charm.

It's just all unspeakably awful. One of his worst albums ever.

Oops - double post.
[Edited 7/6/09 11:55am]

Great album from start to finish. Lots of incredible guitar work, especially on Shh, Dolphin and Endorphinmachine. Love Billy Jack Bitch - very funky.

Love this album, one of my favourites. So many stand out tracks for me, especially Dolphin, Now, Gold, P Control, Endorphin Machine and I Hate U. The only one I'm not keen on is We March but even that rarely has me reaching for the skip button. A very solid effort and a great shame that the UK had all but given up on him by this point. Deserved to sell many more copies than it did.

Amazing album

CHRISLUV92 said:

GirlBrother said:

jasontate said:

GirlBrother said:

I just don't get why so many fans rate this album.

I love 'P Control' and 'Billy Jack Bitch', but the rest just leaves me feeling queasy.

To this day, I can't listen to 'Gold' with it's rhyming of "gold", "cold" and "sold" and door-bell synth line. It sounds almost like a Eurovision entry from Latvia, circa 1991.

'Dolphin' is atrocious. Those lyrics... I used to write poetry like that when I was 15 years-old, believing that I was deeply profound and "clever" (instead of embarrassingly naive).

'Sssh' sounds like a five minute drum solo masquerading as a melody.

'We March' is 'Race' and 'The Sacrifice Of Victor' rehashed.

'319' is 'Kiss' without the minimalist charm.

It's just all unspeakably awful. One of his worst albums ever.

You're joking right