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Printabletricky99 said: We now live in an era where the individual artist is not accepted for following their own muse. It seems to be relevant they must have the producer of the moment or the performer of the moment to be considered worthy. I get the feeling a lot people (reviewers included) don't really "hear" prince anymore. They are lazy of the ear and extremely dismissive. Since really there only true reference points are Purple rain they refuse to see Prince as an evolving artist. Maybe because we no longer look at pop music as art (if we ever did). Now its just product. If it not packed with the latest cultural markers (neptunes, etc.) than its not relevant. When Prince veers from the commercial and toward the more idiosyncratic he is viewed as "self indulgent" while when he embraces more commercial sounds he runs head first into comparisons with his most popular music. That's a battle he can't win because its loaded with the nostalgia of memory and the easy reach of conventional wisdom (group think). In an era where music is disposable and downloaded for free is there really a model for an artist like Prince to be appreciated. Prince's greatest "crime" is maturing musically and physically. That's not really appreciated in this youth oriented/ 15 minute of fame culture. that's a specious dispute of this review. the point is that the reviewer did not find the music enjoyable and found the music dated, unimaginitive and contrived, and proposed that outside help could help Prince create new music just as great as his old jams but also relevent to todays music enviornment. this has nothing to do with him following his own muse. heck, that's hardly a defense of Prince at all. every song he has ever written comes form his own muse, but that doesn't mean they are all good or simply should be applauded for such. if that is a defense of Prince it is a defense of every musician or art form and noone should ever be criticized because they are simply doing what they want to do, and that is an act that should be applauded, as per you. but that is hardly the case. by your logic, there is no room for criticism of anyone or anything as long as they are doing what they want to do. but a compliment is meaningless if there is no criticism. nothing can ever be great if nothing is ever bad. why is Purple Rain great? because it is superior to most records that have been recorded, which means those other records werent as good or good at all, despite the musicians following their own muse. you want to keep one without the other, but the one does not and cannot exist without the other. you see the point? probably not, or you wouldn't have made your specious comments. [Edited 3/17/06 9:20am] this message brought to you by logic. | |
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dumbass said: tricky99 said: We now live in an era where the individual artist is not accepted for following their own muse. It seems to be relevant they must have the producer of the moment or the performer of the moment to be considered worthy. I get the feeling a lot people (reviewers included) don't really "hear" prince anymore. They are lazy of the ear and extremely dismissive. Since really there only true reference points are Purple rain they refuse to see Prince as an evolving artist. Maybe because we no longer look at pop music as art (if we ever did). Now its just product. If it not packed with the latest cultural markers (neptunes, etc.) than its not relevant. When Prince veers from the commercial and toward the more idiosyncratic he is viewed as "self indulgent" while when he embraces more commercial sounds he runs head first into comparisons with his most popular music. That's a battle he can't win because its loaded with the nostalgia of memory and the easy reach of conventional wisdom (group think). In an era where music is disposable and downloaded for free is there really a model for an artist like Prince to be appreciated. Prince's greatest "crime" is maturing musically and physically. That's not really appreciated in this youth oriented/ 15 minute of fame culture. that's a specious dispute of this review. the point is that the reviewer did not find the music enjoyable and found the music dated, unimaginitive and contrived, and proposed that outside help could help Prince create new music just as great as his old jams but also relevent to todays music enviornment. this has nothing to do with him following his own muse. heck, that's hardly a defense of Prince at all. every song he has ever written comes form his own muse, but that doesn't mean they are all good or simply should be applauded for such. if that is a defense of Prince it is a defense of every musician or art form and noone should ever be criticized because they are simply doing what they want to do, and that is an act that should be applauded, as per you. but that is hardly the case. thank you, dumbass.  | |
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switters said: Okay, here's the thing:
The review is thoughtful. And unfortunately, accurate. Tough love for Prince, and someone had to say it..... I've been listening to 3121 regularly and absolutely love it. I think it's his best album in years---when you think of a quintessential Prince album--the sexy, danceable tunes, lyrics, hooks, soul ballads, etc....it's all here. It's a PRINCE album. And a very enjoyable one. When you pay for this Prince album, you get your money's worth. That being said, he just hasn't broken any new ground at all....which is annoying. It's surprising that a man of his gifts and genius does not strive to break out of his comfort zone. It's not that the songs aren't good, it's just that we've heard them all before many times. Some complain that when he gets too off the wall he's inaccessible to the masses....But I think what we want deep down if for Prince to re-invent the pop wheel again, like he did with "When Doves Cry". He is capable of it, he is capable of wonderful experimentation, because he IS a genius. Perhaps he keeps that music personal and only releases the poppy stuff. But he shouldn't be surprised by reviews like EW's, because he's repeating himself... All that said, I have great respect for any artist who finds a signature sound and NAILS it so well that when you think of that artists' sound, it's unquestionably theirs. It belongs to no other! Like U2's latest album. It sounds vibrant, like 3121, but it's a U2 album made by U2. There's a kind of genius in that. hmm, switters. we seem to agree on a lot of things. first 'the beautiful experience' era, now this. like you i think '3121' is his best album in YEARS. i would actually say it's his best since 'symbol' simply because it doesn't do much wrong. it's incredibly enjoyable, there's some hot tunes on it (love, the word, lolita, 3121 and more) and there's a minimum of rapping and posturing; and thankfully there is no 'NPG in the house' style chanting (to my mind, this was one of the few good things about 'musicology' - it broke that boring pattern of shouting out to the NPG. i'm glad to see this positive move continued on '3121'). i actually find myself shocked by how much i like this album. it's already gotten more airplay than 'musicology', 'the rainbow children' and 'N.E.W.S' (possibly his worst release ever) on my system. having said that... i'm still not sure i'd recommend it to a non-prince fan. i'm not sure that, on its own merits, non-prince heads would find much to LOVE. it's more interesting in the overall context of prince's work than as its own thing. however, i would love to be proved wrong and i hope prince has a big commercial success with this, because it IS good. it's VERY good. it's just... you sort of have to work kind of hard to hear how good it is. it doesn't just flat blow you out like his best work does. | |
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rainbowchild said: Haven't heard the album yet, but it's no brainer here just based on the first two singles from the album released thus far...YAWN...
the album's far better than those two songs suggest. | |
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How about this:
Sometimes, in this musical market extremely hostile to authenticity, individuality and depth seasoned by age, we find ourselves oblivious to for the formula Prince obviously has settled on: Sometimes you get music for him (Rainbow Children), and sometimes you get music for us/them(apparently, 3121). Can we try to remember that almost NOBODY from his generation is considered musically current and relevant anymore (before anyone mentions Madonna, I said MUSICALLY. I like her too, but come on)? U2 comes close, but those guys haven't veered from a proven formula in ages (look how much guff they got for Rattle and Hum and POP), much as I like them, too. And can we remember this is one guy??? The fact that not only is he capable of the breadth of Rainbow Children -to- 3121, but that he is willing to do so, just makes me realize how spoiled we all really are by him. In short, dig the songs? Cool, listen to them. Don't worry about why. | |
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I guess I'm at a point where after 2+ Decades, I just accept whatever it is he puts out. I usually like most of it...but that's what makes me a fan..still after all these years. I "get it".
Sure there are flaws. It's Prince. Sure I can think of better ways he can handle his music. But again, it's Prince and it's ONLY going to go HIS way. Like it or not. Yes, he could use a producer to help him out...if he's really looking to sound fresh, unique and relevant. No, he's not cashing in all his chips on his songs anymore...at least not in an "album" sense... And personally, I think that if he wanted a "renaisannce" of sorts. Bring Back the favorites everyone loves to play on his album...If the New NPG was Wendy, Lisa, Levi, Shelia, Eric, even Dez, I think many would enjoy that. I know that 2004 was an anomoly...But right now he's in the same place (fan wise) as he was prior to Musicology. So why not pander to your fans instead of trying to bulk up your fan base. Christian Zombie Vampires | |
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Anx said: dumbass said: that's a specious dispute of this review. the point is that the reviewer did not find the music enjoyable and found the music dated, unimaginitive and contrived, and proposed that outside help could help Prince create new music just as great as his old jams but also relevent to todays music enviornment. this has nothing to do with him following his own muse. heck, that's hardly a defense of Prince at all. every song he has ever written comes form his own muse, but that doesn't mean they are all good or simply should be applauded for such. if that is a defense of Prince it is a defense of every musician or art form and noone should ever be criticized because they are simply doing what they want to do, and that is an act that should be applauded, as per you. but that is hardly the case. thank you, dumbass. It seems to me when Prince follows his muse (i.e. TRC, NEWS) he is labeled as "self indulgent". And really what that means is your making the music u want too not the music I want to hear from u. What's the point of getting ?uestlove or the neptunes are whoever is the latest sensation to make him "relevant"? Why not just accept or reject based just on what he can produce on his own. I much rather recieve an authenic prince creation then see prince as a puppet of the latest musical fad. if u want neptunes or ?uestlove listen to them, no problem. I mean if your wife doesn't quite do it for u anymore. U can a) divorce her or b) live with it. I doubt that u would propose to bring in a young hot model for a threesome. | |
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tricky99 said: Anx said: thank you, dumbass. It seems to me when Prince follows his muse (i.e. TRC, NEWS) he is labeled as "self indulgent". And really what that means is your making the music u want too not the music I want to hear from u. What's the point of getting ?uestlove or the neptunes are whoever is the latest sensation to make him "relevant"? Why not just accept or reject based just on what he can produce on his own. I much rather recieve an authenic prince creation then see prince as a puppet of the latest musical fad. if u want neptunes or ?uestlove listen to them, no problem. I mean if your wife doesn't quite do it for u anymore. U can a) divorce her or b) live with it. I doubt that u would propose to bring in a young hot model for a threesome. As soon as he has someone else produce him...that'll open a whole new can of worms and comparisons. Christian Zombie Vampires | |
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Dear Adisa, Could you please make your avatar bigger so mine will get bigger?
Adisa said: rainbowchild said: Haven't heard the album yet, but it's no brainer here just based on the first two singles from the album released thus far...YAWN...
That's almost how I feel about it. Almost. It's been a very long time since I was excited about a new release from Prince, going on 10 years. I'm not gonna put myself through a lot of cognitive experimentation as to why I should like his lp's ("he's evolving", "he's older", "he's nothing left to prove") and I certainly don't bash the man because I no longer enjoy his music, because he doen't owe me jack. It is what it is...nothing more or less. But you better believe I'll always check out his concerts when he comes this way!  "Tell that little purple motherfucker to contact me!" - Miles to Alan Leeds . . . | |
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Prince will NEVER be appreciated for the BAD MF he is until he is dead. It's really that simple. This is a good cd on it's own merits. It does not need to be compared to Purple rain or anything else.
The whole break new ground comments are just assine. I'll leave it at that. I have a theory as to why Madonna and U2 can do familiar material and not get a negative review like Prince does but I'll keep it to myself. | |
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murph said: Entertainment Weekly
March 24, 2006 SECTION: MUSIC; Pg. 68 No. 869 LENGTH: 546 words HEADLINE: Frog Prince; Once again, he fails to meet our great expectations. BYLINE: Raymond Fiore BODY: PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent. But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest. And so comes his umpteenth disappointment--3121, a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose. Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined. But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+ [Edited 3/17/06 2:54am] Heap of shite  
'Ive never been 1 2 hide my feelings, Baby, u blow my mind I painted your face upon my ceiling, I stare at it all the time...'
http://www.myspace.com/welshmess | |
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MartyMcFly said: murph said: Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats.
 This is where I stopped reading...LOL when I first read that line I thought it said "middle aged man breasts" I was starting to wonder if Prince was letting his phisique slip. If the milk turns out to be sour, I aint the kinda pussy to drink it! |
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lust said: MartyMcFly said: This is where I stopped reading...LOL when I first read that line I thought it said "middle aged man breasts" I was starting to wonder if Prince was letting his phisique slip.  I'm sick and tired of the Prince fans being sick and tired of the Prince fans that are sick and tired! | |
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purplecam said: tricky99 said: We now live in an era where the individual artist is not accepted for following their own muse. It seems to be relevant they must have the producer of the moment or the performer of the moment to be considered worthy. I get the feeling a lot people (reviewers included) don't really "hear" prince anymore. They are lazy of the ear and extremely dismissive. Since really there only true reference points are Purple rain they refuse to see Prince as an evolving artist. Maybe because we no longer look at pop music as art (if we ever did). Now its just product. If it not packed with the latest cultural markers (neptunes, etc.) than its not relevant. When Prince veers from the commercial and toward the more idiosyncratic he is viewed as "self indulgent" while when he embraces more commercial sounds he runs head first into comparisons with his most popular music. That's a battle he can't win because its loaded with the nostalgia of memory and the easy reach of conventional wisdom (group think). In an era where music is disposable and downloaded for free is there really a model for an artist like Prince to be appreciated. Prince's greatest "crime" is maturing musically and physically. That's not really appreciated in this youth oriented/ 15 minute of fame culture. Preach it Tricky! Dead on the nail. I agree with Tricky. Today's emphasis seems to be on "hot producers." Hot producers did nothing for Gwen Stefani's solo album. She's so dull by herself. EW reviewed her album twice. Did it really deserve that much attention? "Great expectations" indeed. Why can't they appreciate what's there? [Edited 3/17/06 18:03pm] | |
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tricky99 said: murph said: Entertainment Weekly
March 24, 2006 SECTION: MUSIC; Pg. 68 No. 869 LENGTH: 546 words HEADLINE: Frog Prince; Once again, he fails to meet our great expectations. BYLINE: Raymond Fiore BODY: PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent. But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest. And so comes his umpteenth disappointment--3121, a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose. Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined. But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+ [Edited 3/17/06 2:54am] We now live in an era where the individual artist is not accepted for following their own muse. It seems to be relevant they must have the producer of the moment or the performer of the moment to be considered worthy. I get the feeling a lot people (reviewers included) don't really "hear" prince anymore. They are lazy of the ear and extremely dismissive. Since really there only true reference points are Purple rain they refuse to see Prince as an evolving artist. Maybe because we no longer look at pop music as art (if we ever did). Now its just product. If it not packed with the latest cultural markers (neptunes, etc.) than its not relevant. When Prince veers from the commercial and toward the more idiosyncratic he is viewed as "self indulgent" while when he embraces more commercial sounds he runs head first into comparisons with his most popular music. That's a battle he can't win because its loaded with the nostalgia of memory and the easy reach of conventional wisdom (group think). In an era where music is disposable and downloaded for free is there really a model for an artist like Prince to be appreciated. Prince's greatest "crime" is maturing musically and physically. That's not really appreciated in this youth oriented/ 15 minute of fame culture. Preach tricky, PREACH! Prince, in you I found a kindred spirit...Rest In Paradise. | |
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gyro34 said: purplecam said: Preach it Tricky! Dead on the nail. I agree with Tricky. Today's emphasis seems to be on "hot producers." Hot producers did nothing for Gwen Stefani's solo album. She's so dull by herself. EW reviewed her album twice. Did it really deserve that much attention? "Great expectations" indeed. Why can't they appreciate what's there? [Edited 3/17/06 18:03pm] You just brought up a great point. It's all about the "hot producer" and that's a major part of what's killing music today. NO ONE is trying to make a classic album because these "artists" and "producers" are all about making "hits". You hear them say that all the time in interviews. Look at all these pop and R&B people. They all have a million and one people producing their albums and none of the albums sound cohesive. It sounds like its going all over the place. That's why the iPod is as big as it is. That's also a reason why I don't want Prince to have anyone else produce anything of his. They'll want to do one song, maybe two and call it a day. Bullshit. Even Prince's garbage has some kind of cohesiveness to it that none of these albums have. As long as the music business stays in "hit" mode. things will keep going to the dogs. [Edited 3/17/06 19:25pm] I'm not a fan of "old Prince". I'm not a fan of "new Prince". I'm just a fan of Prince. Simple as that | |
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At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to.
This is the line that made me  . Didn't Prince "prove" he could make real music with real instruments on For You? Obviously the reviewer is only going along with what's "popular". Reading a music review from Entertainment Weekly is analoguous to getting one's international news from The Onion. It might be entertaining, but I'm not taking it seriously.  The check. The string he dropped. The Mona Lisa. The musical notes taken out of a hat. The glass. The toy shotgun painting. The things he found. Therefore, everything seen–every object, that is, plus the process of looking at it–is a Duchamp. | |
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What if I like Prince because his sound is dated and wacko modern? This review doesn't dig deep enough into the album. There is a cohesive theme, the guy just ain't listening. Prince is showing off all the various styles he can do. By saying "he can't do it anymore" is an insult. From "Love" to "The Word" you've got 4 very different and impressive songs. Plus, they come from the mind of a brilliant artist. If Prince let Andre produce him, what's the point? I already hear enough garbage on MTV after 2am, BET, and mainstream radio. Why does Prince have to sound like that? Because it sells? Do sales = relevance? Just because Prince is doing his own thing and not viewed as "relevant" doesn't matter to me at all. If Prince played cool with Clear Channel his music would be played on mainstream radio. Prince doesn't play cool with them so they don't play his music. Big deal. Who's relevant these days? Andre 3000? Gwen Stefani? 50 Cent? Beyonce? In five years they won't be "revelant" anymore and Prince will still be releasing albums. Same old story. "You don't exist again. It's all taken away from you. Even for the richest, happiest and most beautiful people, they move into later life and get old where things start to break apart. They don't exist anymore and they will never exist again." Woody Allen | |
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I'm not someone who blindly praises everything Prince does, but having said that I'm not someone who trashes all of his recent work. For example, I love TRC. Over the last 8 or 9 years I've seen the jaded fans shrugging and sighing about his newer albums and could never quite understand the depth of their displeasure with his work.
The other day I realized why that same feeling hadn't hit me yet (until now), despite the fact that I find much of his 90s and early 00s output to be mediocre. I was on the unreleased track chase, and before that the back catalogue chase. When you're a new fan just buying Dirty Mind or ATWIAD it matters not that you're so many years late. Your year for discovering those albums becomes your 1980 or 1985. If, for example, Rave comes out in the same year that you buy some of those older albums, the mediocrity of Rave just doesn't affect you the same way. You're too wrapped up in the Prince music thing as a whole to feel disappointed with the new album. You're getting 'Purple Music' from p2p or seeking out the b-sides and remixes. The whole experience is exciting and the new albums just fit in there without really detracting. Then the time comes that you've pretty much got all b-sides and unreleased tracks you can get hold of, you've listened to them a million times, and you're now just left with waiting for the release of the next new album, and only that. That's how it hit me the other day. I felt really disappointed with 3121. Not because it's terrible, but because it's just not that exciting. I was listening to the full version of La La La, Hee Hee Hee and I realised that Prince has just stopped taking chances. I began wishing he'd make b-sides again, and extended mixes. I longed for him to put some quirky sounds in there, some chaos, something I might not know whether I like or not. Something that forces you to choose. Something spontaneous. I'll always go back to the old stuff and enjoy it, but the excitement of the search is over. I'm just sitting and waiting for new albums now. There is only the Prince of the 00s from here on for me as far as the excitement of the whole Prince experience, and I don't know if he's going to hold my attention. I hope so though. | |
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This review is one way to look at it. And that way, with magazines like Entertainment Weekly, is "hot or not"? I'm saying that these mags aren't so much concerned with what constitutes great art within the art itself, but what is cool in today's entertainment world. The very name of the mag says it.
Well that is an industry into itself, the "cultural gatekeepers" who tell you whether the look you're sporting, the book you're reading, the movie you're seeing and the cd you're listening to... are "current", "relevant", etc. It's a whole industry sector devoted to helping the consumer make choices, not from his/her inner cool perspective, but what is considered to be cool in the buzz world of Entertainment. Someone in Peoria can buy these mags and ape it all and go to sleep at night secure in the knowledge that the products he or she has bought recently fit within the media-sanctioned views of the day. That in itself is not new but the scale is. And it does make "relevance" a dubious concept. I thought this review was too harsh and many of the positive reviews too lenient. My own opinion is somewhere in between. Yes, I'm saying they're both wrong, and I, Aerogram, taste arbitrer at the Org, am right. [Edited 3/18/06 11:08am] | |
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Entertainment Weekly is owned by who? Thats right Warner Bros. Did you really think he would get a good review from them.. | |
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Lol....conspiracy theories? critism?
I mean...a musicfan can stand a bad review, a fan even... but fams are like blind horses.... | |
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I don't know. I love the album. I can't really be concerned about critics, particularly ones who can't do what they criticize. | |
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MartyMcFly said: murph said: Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats.
This is where I stopped reading...I read past that, but share similar feelings about that statement. R U f**king kidding me?! What 12-year-old wrote this review? Listen to me on The House of Pop Culture podcast on itunes http://itunes.apple.com/u...d438631917 | |
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MartyMcFly said: murph said: Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats.
This is where I stopped reading...Yeah...me 2. | |
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Sad, but true.
The review hit the nail on the head dead center. Prince has potential but once again doesn't make the bar. 3121 is alright. Prince needs a lesson in humilty. At 47, it's alright to allow yourself to be teachable and let others in to help you. He tries way too hard and is way too stubborn and it shows. It bums me out.It's like a superhero who lost his powers. Yes, I probably give Prince too much power, but c'mon man. He's in his own little dwindling world. Tragic. | |
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I'm almost positive my preorder copy of 3121 had a sticker on the wrapper indicating that Entertainment Weekly had referred to the disc as, "The most anticipated album of the year" (or something to that effect). But I guess Prince and Universal weren't "anticipating" that EW would be unimpressed with the disc after listening to it.
For the record, I disagree with the EW review. IMHO 3121 is his best album in several years and certainly better than Musicology. Please note: effective March 21, 2010, I've stepped down from my prince.org Moderator position. |
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moderatormurph said: Entertainment Weekly
March 24, 2006 SECTION: MUSIC; Pg. 68 No. 869 LENGTH: 546 words HEADLINE: Frog Prince; Once again, he fails to meet our great expectations. BYLINE: Raymond Fiore BODY: PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent. But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest. And so comes his umpteenth disappointment--3121,a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose. Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined. But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+ [Edited 3/17/06 2:54am] I think this guy had this review written before he heard the album. 3121 is not messy. WTF. RC is self-indulgent. Not 3121. It is very ecletic. It's not derivative. It is signature, which is different. While I hear echoes of his past in this songs (which I love)...these songs sound completely fresh and new to me. It's an audio orgasm. I think the sounds are well-chosen not excessive. And how in the hell can he think Outkast could best this. Please. Prince is in his element on this album. I think each song is very layered and cohesive. Prince seems inside the music and lyrics. While the songs have different styles, there's still a sense of unison. I think the reviewer juse wanted to hate this album. Because I'm pretty picky ..and talked a lotta sh*t about RC and some about Musicology. But I love 3121...and after 10 listens ...I still grin through nearly every song. | |
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THAT REVIEW FULL OF POO! FIRST OFF IT IGNORE THREE ONE TWO ONE UNTIL THIRD PARAGRAPH ALSO THERE TWENTY FIVE HYPHEN! THAT MEAN REVIEWER RUN OUT OF WORD AND HAVE START STRING OLD ONE TOGETHER SAD P o o |/, P o o |\ | |
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murph said: Entertainment Weekly
March 24, 2006 SECTION: MUSIC; Pg. 68 No. 869 LENGTH: 546 words HEADLINE: Frog Prince; Once again, he fails to meet our great expectations. BYLINE: Raymond Fiore BODY: PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent. But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest. And so comes his umpteenth disappointment--3121, a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose. Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined. But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+ [Edited 3/17/06 2:54am] Right on!! "Just like the sun, the Rainbow Children rise."
"We had fun, didn't we?" -Prince (1958-2016) 4ever in my life |
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