Nothing to Rave About

The Artist's Newest Falls Flat



By ELIOT WILDER / From the Beatles briefly reinventing themselves as Sgt. Pepper’s Lonely Hearts Club Band to David Bowie’s various incarnations as Ziggy Stardust and the Thin White Duke, popular musicians have been known to adopt various poses as a way to rejuvenate their work. Generally, embracing a new persona pushes the boundaries of both the artist and the art. It can also expand audiences’ expectations and imaginations. But not always; witness Garth Brooks’ turn as (ugh) Chris Gaines. The endeavor comes across as ludicrous and pretentious, and clearly demonstrates Brooks’ limitations. Such an ill-conceived move can color past achievements, calling into question a person’s talents. Worst of all, trying on new guises can get in the way of the work itself. As has happened with the Artist Formerly Known As Prince.



When he changed his name to an unpronounceable symbol in 1993, many were curious to learn what new direction the Artist’s music might take. After all, up to this point, each of Prince’s albums had surpassed what came before. In 1982, his “1999” was a quantum leap over “Controversy” a year earlier. When the breakthrough “Purple Rain” was released in 1984, it appeared as if Prince had no limits. That became even more evident several albums later in 1987 with “Sign ‘O’ the Times,” easily one of the greatest records in the rock era. But what came next, in terms of his subsequent records, his standing as a musician and how he presented himself to the public, was somewhat less than great. What followed was a series of increasingly flawed and idiosyncratic works, produced by a man who seemed more concerned with not being labeled than he was with making good albums.



The last few years have seen a spate of inconsistent CDs from the Artist, mostly independently released through his own Web site. As a major fan, it was depressing to listen to substandard offerings like “Chaos and Disorder” (1996), the three-CD “Emancipation” (1996), the four-CD “Crystal Ball” (1997) and “Newpower Soul” (1998). Most apparent on these later records is not so much the relatively weak songs, but the dearth of new ideas, which is doubly dispiriting considering the plethora of material. Because he had seemingly erected his own hermetically sealed universe, the Artist began to sound stale and isolated, and his themes hackneyed. I mean, isn’t the Artist done with busting a move on sex and God? Also, must he continue to use the silly 2 (for “to”) and U (for “you”) conceits? And isn’t it about time he pull the plug on all those cheesy, ’80s-sounding drum machines and synths?



He doesn’t think so, as is evidenced on the new “Rave Un2 the Joy Fantastic.” The first album to be released on a major label – Arista – in quite a few years, “Rave” has been anticipated as an artistic and commercial return to form. Alas, the return is only partial, if at all. “Rave” trots down a familiar path – heck, the CD could be subtitled “The Artist’s Greatest Tics,” with his usual palette of styles and sounds all present and accounted for. But that’s what’s most frustrating, because it seems that the Artist is merely recycling what he knows best – and what he knows best just isn’t that affecting or compelling – or terribly novel – anymore.



With its quaint-sounding rhythm sample, the title track is not that much different from “Kiss,” or any number of tracks from mid-period Prince. The ballad “The Sun, the Moon and Stars” is as sweet and soulful as the Artist gets, but the song is undone by its dated production touches. The funky and trippy “Undisputed” sounds like something from “Sign.” On it, the Artist even boasts that “I don’t follow trends, they just follow me.” That may have been true 10 years ago, but who other than the man himself would believe that today?



Yes, there are small pleasures; “Tangerine” is a short, gentle number that harks back to the Artist’s creative psych-pop phase. And the rockin’ “So Far, So Pleased,” with vocal assistance from No Doubt’s Gwen Stefani, is reminiscent of something Prince might’ve once done with Wendy and Lisa. “The Greatest Romance Ever Sold” and “I Love U, but I Don’t Trust U Anymore,” are extraordinarily beautiful. And “Wherever U Go, Whatever U Do,” could be one of the Artist’s best songs ever – if it didn’t copy wholesale his own “Forever in My Life” from “Sign.” These are not by any means mediocre songs. But, overall, “Rave” seems tired, and I come away from it feeling I’ve heard it all before, only better.



Much like Woody Allen, whose last half-dozen films lack the sharp focus and timeless appeal of his earlier work, the Artist is in danger of becoming a parody of himself (some would argue that has already happened). What’s to be done? Perhaps he should listen to what’s going on out there. Perhaps he should get out of his Purple Palace once in a while, take a walk in the park, go on the subway, hang out in a bar – you know, get a life.



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