Byron said:

I didn't find it negative in anyway...

http://edition.cnn.com/20...us.prince/

By Raymond Fiore
Entertainment Weekly


Tuesday, March 21, 2006 Posted: 1731 GMT (0131 HKT)

Manage Alerts | What Is This? (Entertainment Weekly) -- 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 Corazon'' 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.

EW Grade: C+

Sdldawn said:

"...a handful of infectious songs...

"...hopelessly dated keyboard patch and generic rock drumming."

"...Prince is still only kinda sorta "back."

"All told, 3121 is a pretty ordinary-sounding record"

Those aren't exactly positives...lol

Byron said:

but are they honest?


I think so...

Sdldawn said:

Of course you don't...It's already established you are going to use the 3121 CD as a coaster.... But seriously, give it a little time...It might grow on you...

Sdldawn said:

But no more "honest" than the reviews that were obviously positive...but like I said earlier, we tend to only attach the word "honest" to comments and reviews that find fault in Prince's work. It's very likely that a reviewer heard 3121 and honestly thought it was a very good, strong album.

Why would someone waste time and energy on something they don't like?

Too me, it makes sense to put time and energy into something that you do like.

Being a UK Prince fan, I'm sure I am not alone in thinking this way, so I thought I'd get one thing off my chest and see how I can bounce this off a few long term fans...

How utterly fickle and infuriating has the recent roundabout media circus been.... Regarding the Brits awards fandango - I can accept and somewhat understand the nature of the 'Red Tops' slagging his 'secretive' and somewhat 'aloof' ways at avoiding exposure resulting in an outpouring of criticism - only to hype him up to the max come a post-show epiphany of genius.

What I simply cannot abide is the LP reviews... The Observer, The Guardian, The Indie and other 'respected' press have hyped him to the 9s - however, its all been littered with inaccuracies, cliches, similar presumptuous accusations all the while lauding 3121 as HIS GREATEST ALBUM SINCE (fill in the blank)...

Having read Pitchfork - this most esteemed of online journalism it was the nail in the casket...

*Interval time*

I run a local music collective and without naming a name - a young girl round our way (very middle-class, agent-endorsed while still a teenager, adored by her peers all while who staring as a minor role in a big budget film that did well over here and Stateside) has subsequently been re-invented as an Island records Goth-cum-Avril-Lavigne - who to quote her website 'loves self-harm, 1900s prostitutes and blood...' is now the face of a new ambitious major label campaign... In short a fake - but with backing... And a face and a PUSH..

*****

The parallel is slim and somewhat tenuous - but surely these ill-informed tastemakers are merely backers of PR and marketing hype merchants...

While we his long term fans - and indeed the newies among us - can make general, somewhat, informed representative comment and judgement on his latest output we are left with a reflection of a media - which in my opinion - IS COMPLETELY - swamped with bias, ill-advised bullshit.

I'd back this up but its there for any decent fan to see... the usual cliches abound. Sure his output over the last decade has been patchy however the renaissance this is NOT.

Watchign last week's Culture review on Newsnight was cringeworthy in the extreme - you had two overzealous thesps raving while the literary dude reserved a certain balance - both of which reflected nothing.. the chief from Casualty kept uttering the phrase - 'but his so gaddam PHONKY'... Oh dear - it was as if they'd been paid huge wodges of Universal-owned dollars... Utter fake.

3121 is a completely satisfactory - nay, very good - continuation of an artist that has never faded in artistic value - one that merely shat on the media and all its constraints and now that he is merely embracing its medium - via A MAJOR LABEL, they (in all its forms) HAVE to 'allow' him back into the elite. Not because they wish to - but because they know.

Fx

ps: I hope people don't interpret this as an anti media rant. I accept and appreciate and indeed work in the field, I just think its utterly applicable to a great, but abused and misunderstood - and now misrepresented artist of our time.

There you go, now do you have the guts to send those bad ones to Metacritic? lol

Giving it a C+ is a bit harsh, I'd say about B+

2freaky4church1 said:

I've sent all of the ones with URLs given here to Metacritic, both good and bad...

What really bogs the album down is Te Amo and Get On The Boat, another maudlin, dumb funk/horn snoozer. You want horns? How about Come.

prodigalfan said:

I was surprised to see this in the Free Press; Brian McCollum is usually pretty picky. I figured he'd give it three stars, tops.

murph said:

Why is he dogging those three albums? There are some real good songs on all of them.

Love2tha9s said:

Crystal Ball (the song) wipes out any music prince has done in the last 20 years.. so yes.. that was a crap statement for him.

Sdldawn said:

Agreed.

dreamfactory313 said:

I knew there had to be some reviewers out there that didn't like it .

By Jim Harrington

Inside Bay Area - March 21, 2006


'3121' Tops New Releases - Can a Tour Be Far Behind?
It's Prince's world. The other artists with new CDs just live in it. Of course, none of that really matters. You want to hear about Prince's new album. So I won't make you wait.

This critic was one of the few scribes who didn't exactly swoon over Prince's last album, "Musicology." But I completely understand why so many cheered that record as a first-class comeback. Prince had been so weird for so long and seemed in imminent danger of slipping off to Mars to live with Garth Brooks and Michael Jackson, that it was refreshing to see him get back down to making music that appealed to Earthlings.

Although a famous recluse, Prince really looked like he enjoyed his reintroduction to the mainstream. That was pretty obvious to anyone who attended one of his many arena shows in support of "Musicology."
Fortunately, it appears the supremely talented musician plans to remain in the mainstream for at least one more album. The public reaction has been very strong to the trio of tunes that Prince has offered up in advance of the record's release. No word on the Martian reaction yet. If the aliens hate it, I'm buying it.

Word on the street is that Prince will tour behind "3121," perhaps as early as late spring. That's exciting news. As good as Prince is on record, he can be even better live. He also can stink like Limburger. Yet, even with that knowledge in mind, I've already got a date for the show.

Startribune: Prince has fun with latest album 3121

By Jon Bream

"3121," like Prince's last album with a four-digit title ("1999"), is a party record. Like that 1983 project, this one is fun, although not as groundbreakingly fresh or as consistently exciting.

We knew what the song "1999" was all about. It's not clear what the significance of "3121" is. (I hear it's the address of his Los Angeles home.) The title song, which opens the disc, is a dense dance jam inviting you to a party: "U can come if U want to/But U can never leave." Sounds like shades of "Hotel California."...

Prince is clearly in a different head space for "3121" than he was on "Musicology," 2004's strikingly mature celebration of marriage and monogamy. He seems less focused and less happy this time. In fact, he sounds a little horny, but, despite his R-rated thoughts, his lyrics are strictly PG.

"Lolita," the playful second track, is a little suggestive but no more so than any similar come-on by the Time. The album's best numbers, "Black Sweat" and "Satisfied," are sexy but hardly risqué by Purple standards.

"Black Sweat," the current single, is slinky synth funk, a spare electronic workout oozing with Prince's most emotional vocals. His "oohs" on this number provide some of the most thrilling moments on the album.

"Satisfied," a bedroom ballad, is all seductive bravado, made sumptuous by the slow, gospelly organ.

There's definitely a throwback vibe to "3121," a mostly one-man-band effort that favors the musical minimalism and reliance on synthesizers of early '80s Prince.

He also echoes some of his personal favorites: "Beautiful, Loved and Blessed," a duet with new protégé Tamar, suggests the sweet soul of Minnie Riperton; "Te Amo Corazón" evokes the slow-dance Latin romance of an acoustic Carlos Santana; "Fury" salutes '70s synth-and-guitar rock; "Get on the Boat" merges the horn-fueled funk of James Brown and Earth, Wind & Fire. Featuring saxophonist Maceo Parker, "Boat" is one of the standouts here, a terrific party jam not just for Al & Alma's but for any celebration.

Still, despite the dance-floor fun and boudoir ballads, "3121" ultimately leaves you wanting. Prince clearly has some intriguing concepts (especially rhythmically) here, but it is time that he hooked up with a younger musical genius, such as the Neptunes, OutKast's Andre 3000, Black Eyed Peas' will.i.am or the Roots' ?uestlove, who have demonstrated that they know how to take old Princely ideas and make them sound fresh. In other words, the Master should rework "3121" into, say, "Prince 3000."
[Edited 3/21/06 22:31pm]

Sdldawn said:

To be honest, when I read Pitchfork had reviewed the new album and peoples comments I presumed it would be as shit as the rest of their Prince reviews, but that one wasn't terrible. it was honest to what the reviewer felt, though naturally I disagree Prince hasn't really released a decent album in over 10 years etc etc. But compare this and the Black Sweat single review to their review of Musicology and United States of Division (yes, they did a whole page slagging it off, its not on the site anymore) and its much much better.

kinda amusing he finds Fury 'dated' then recommends readers to go back to listen to the 80s stuff. its like he's saying 'Prince's sound is abit dated, stuck in the 80s, while he sorts himself out, lets listen to his 80s stuff instead!'. Funny too, cos when I read peeps on here mention Pitchfork found the synths dated I'd have thought Lolita would be a prime culprit, but no, thats actually one of the better songs for this guy!

Funny ol' world isn't it!

Prince's '3121': Some Funky Little Numbers

By J. Freedom du Lac
Washington Post Staff Writer
Wednesday, March 22, 2006; Page C01

You remember Prince, right?

Not the Artist Formerly Known as Brilliant, that defiant glyph who stumbled into an abyss of self-absorbed musical mediocrity in the 1990s and became more interesting for his eccentricities than for his unfocused and largely forgettable albums ("Come," "Emancipation," "The Rainbow Children"). But the undisputed pop genius and funk-rock master -- the virtuosic innovator behind "Dirty Mind," "1999" and "Sign 'O' the Times." His Royal Badness.

That Prince is basically back: Let the house-quaking commence.

After not embarrassing himself for the first time in a long time with 2004's "Musicology," which coincided with a wildly successful greatest-hits tour, Prince has emerged from the studio with the cryptically titled "3121," the purple rainmaker's best new release since "The Love Symbol Album" in 1992.

It's hardly perfect: "3121" is ill-sequenced, for one thing, wedging a dud of a bossa nova ballad, "Te Amo Corazon," between the superlative funk of "Lolita" and "Black Sweat," almost as if Prince tripped over a cord in the studio and accidentally unplugged the groove machine. And there are other songs that don't quite rise to the high standards set by "Lolita" et al., including "Beautiful, Loved and Blessed," which sounds like a Soul II Soul leftover.

Still, "3121" is largely irresistible, harking back to Prince's heyday without sounding stale. If there's supposed to be stasis on the funk continuum, then nobody seems to have told Prince: Several of "3121's" dozen songs suggest that the notoriously insular artist has been absorbing contemporary music again -- in particular, tracks by producers on whom he's had a profound impact.

"Black Sweat" is a delicious slice of stripped-down electro-funk that sounds like Prince doing his best Pharrell doing his best "Black Album"- or "Kiss"-era Prince, which is so meta it hurts. The song is all stuttering drum machines, hand claps and buzzing, burbling synths, with grunting vocals and falsetto shrieks: "I'm hot and I don't care who knows it, I got a job to do," Prince yelps. The layered "Love" also features a Pharrell/Neptunes-style drum pattern, along with some zhigga-zhigga turntable scratches, space-gun sound effects and an industrial-strength melody.

On the steamy, slinky slow jam "Incense and Candles," Prince borrows a page from Timbaland, adding a double-time rap over a drum-and-bass breakdown. And there are echoes of OutKast's Andre 3000 throughout the album, as well -- no shock, given that the rapper-producer is pretty much the new Prince.

But "3121" is no hip-hop album. Rather, it's basically a party-ready funk record, albeit one that also features bluesy Southern soul ("Satisfied"), sophisticated, symphonic tango ("The Dance") and hard-driving, "1999"-style rock ("Fury").

"Lock the door till you see the sun, we gonna party like there ain't gonna be another one," Prince sings on the title track, accompanying himself with the pitch-shifted vocals of his longtime alter ego, Camille, who sounds like a drunken alien. "Futuristic fantasy, this is where the purple party people be." Riding a steady mid-tempo groove, he embellishes the psychedelic song with wormy synth vamps and a fuzzed-out guitar solo.

"Get On the Boat" is a James Brown-style workout that even features a shout of "Good God!" plus a saxophone solo by the onetime Brown sideman Maceo Parker. (Parker is one of "3121's" only interlopers, as Prince plays almost all the instruments on the self-produced recording; he does the majority of the singing, too, though his newest protege, soul songstress Tamar, lends her voice in spots.)

Prince also gets down on "Lolita," though he doesn't actually, you know . . . The formerly freak-nasty singer is still sorta salacious, but he's apparently adopted a look-but-don't-touch lyric policy, now that he's a Jehovah's Witness: "I know you're fine, from head to pumps/If you were mine, we'd bump, bump, bump." But, he adds of the song's young subject, "Lolita, you're sweeta', but you'll never make a cheater out of me."

I promise not to stray, either -- as long as Prince is back to sounding like Prince for good.

Grand Forks Herald (North Dakota)

March 22, 2006 Wednesday

HEADLINE: MUSIC: Prince proves he's still got it;
Pop singer's '3121' arrives in stores Tuesday
BYLINE: Joan Anderman, Boston Globe


After a decade spent wandering in a musical outback, rigorously sticking to the fringes, alienating all but the most hard-core fans with quadruple-discs of extreme material and smooth jazz instrumental albums, Prince is back in the game. "3121," which arrived in stores Tuesday, confirms that 2004's vibrant, accessible "Musicology" was no aberration, and that its creator, one of those rare musicians who can do whatever he wants whenever he chooses, has decided exactly where he wants to be: in the spotlight and on the charts.
"3121" isn't groundbreaking. Anyone who's waiting for Prince to re-establish himself as a trailblazing innovator is going to be disappointed. But those fans who simply appreciate a return to form will be delighted with this top-notch batch of signature funk, bedroom jams and freaky soul tunes, all tweaked to perfection by pop's savviest one-man band.

Twelve tracks fly by in less than 54 minutes, each an ear-tickling mash of organic and electronic, the sensual and sacred (a real balancing act now that Prince is a Jehovah's Witness), the rush of the dance floor and the spark of a head trip.

While there's no overarching theme or concept connecting the songs, "3121" is most definitely an album, not a collection of tracks. It's brilliantly sequenced, unfurling textures and moods with thoughtful precision.
The title song, which opens the album, is an eccentric sing-along - a languid funk groove stoked with surreal sound rubbings, Prince's twisted falsetto, inimitable rock guitar, and a maze of distorted harmonies. We tumble headlong into snappy "Lolita," a synth-driven '80s-pop tune that's both a proclamation of virility and a defense of monogamy. The Spanish-speaking temptress of the song was, perhaps, the inspiration for next track, "Te Amo Corazon," a ballad notable for its lushly layered production but one that would be better suited to an Enrique Iglesias collection.

"Black Sweat," the current single, recalls Prince's "Kiss"-era nastiness, all twitchy and minimalist, riddled with sick squeals. But Prince also has been listening to the contemporary production gurus (the Neptunes and their ilk) who he influenced so deeply, and Prince's generous embrace of past and present feels not just appropriate but meaningful at this point in the 47-year-old artist's career.

Less appropriate and meaningful is Prince's attempt at rapping on "Incense and Candles." But that's a small misstep on an album filled with satisfying moments that reveal their sometimes hidden depth with repeated spins. At first, the album seemed overloaded with slow jams; close listening revealed shifting, scintillating arrangements that will remind lapsed devotees of Prince's great gifts as a producer.

Elegant, impressionistic "The Word" is a sly fusion: a midtempo R&B testimony enlivened with spare acoustic guitars, bursts of saxophone and scratching, and watercolor washes of strings. "The Dance" begins as a mellow, Latin-inflected elegy and builds into something frantic and complicated. "Beautiful Loved and Blessed," a duet with the R&B ingenue Tamar, features Prince making a rare excursion into the lower reaches of his vocal range, where he sounds shockingly warm and sincere.

"3121" closes with "Get on the Boat," a lively, if conservative, call for community fueled by south-of-the-border horns and percussion. It's fun and friendly, topical and tropical. I can't wait to hear the remix.

Newsweek

March 27, 2006
U.S. Edition

BYLINE: Lorraine Ali
BODY:

Prince '3121'

When Prince sings "Stop writing checks that your body can't cash," on a track titled "Lolita," it makes you wonder how we've survived all this time without his pervy charm.

Half the CD is fueled by his breathy grunts and groans, his exploding falsetto and, of course, big fat beats. The other half? Soul ballads and even some love songs.

But mostly, Prince reminds us that the sexy bump and grind isn't just a she thing. Hallelujah.

Mail on Sunday (London)

March 19, 2006 Sunday

HEADLINE: PRINCE TRIES TO PARTY LIKE IT IS STILL 1999;
POP, REVIEW
BYLINE: TIM DE LISLE
BODY:
Prince 3121 Universal (out tomorrow) Rating: ***

There comes a point in a singer's career when they stand or fall on quality.
Neil Diamond's new album is selling well for only one reason: because it's good.
But there are exceptions to this rule, and two years ago Prince pulled off a major commercial comeback with his umpteenth album, Musicology, even though, by his once- high standards, it sounded very much like mediocrity. He always was a law unto himself.

Musicology is reckoned to have sold six million copies around the world, whereas its immediate predecessor managed only 850,000.

Anyone who can name that album is doing well (answer: The Rainbow Children).
Anyone who can stomach its Jehovah's Witness lyrics is doing even better.
So how did Prince turn things around?

It helped that he toured heavily in America, topping the concert-revenue chart for 2004 and showing a new generation what a phenomenal performer he is. Craftily, he charged high prices for seats, threw in a free copy of Musicology, and persuaded the authorities to count these as sales.

It also helped that he influenced bright sparks such as OutKast, who appeared at his induction to the Rock and Roll Hall of Fame. But there must have been some other factor at work and my guess is that it was sheer relief.

Fans were just grateful that Prince was no longer calling himself Squiggle or disappearing up his own self-indulgence.He graffitied his face with the word 'slave', his relations with the music industry remain distant. He signs a new contract for each album; this one, with Universal, completes his set of the four major labels.

Another deal, for a compilation due out last week on Rhino Records, has mysteriously fallen through. But with 3121, he has come close to makingan album worthy of a comeback.

At 47, he is an ageless figure: on the sleeve, in profile and half in shadow, he could pass for 31 or 21. Some of his old stuff still sounds futuristic, and with songs such as I Would Die 4 U, made more than 20 years ago, he practically invented the language of texting. But on recent albums, he has been more interested in mixing the past and present of black music than in being its future.

Now, for the first time since the early Nineties, Prince is writing with the concentrated brio that classic singles are made of. The title track is a strutting party song with a smouldering funk rhythm, a fabulous snap in the drums, three different versions of Prince's voice and some exuberant saxophone from Maceo Parker and Candy Dulfer.

When it comes to parties, he'll probably never surpass 1999, but 3121 proves to be a hot little number. After a forgettable track called Lolita, the temperature rises again with the current single, Black Sweat, a sizzlingly contemporary slice of electro-funk, performed completely solo, which feels both slick and natural.

Its predecessor, Te Amo Corazon, which came out ahead of the album, is too formal to be truly Princely, but as Latin ballads go, it's highly accomplished.
His signature returns strongly on a song named Love, which coolly attaches a dirty synth riff to a sweet soaring chorus. Perhaps he shelved that compilation just so that he could include these four tracks. There are flickers of brilliance in the minimal electrosoul ballad Incense And Candles, but the words don't fit the tune and, as ever with Prince, there is nobody on hand to tell him so.

Several songs are a waste of his talents: Get On The Boat, a dull James Brown pastiche; The Dance, an attempt at a Streisand-ish mega-ballad doomed by a pompous rococo piano; Satisfied, a routine Southern soul track, albeit beautifully sung; and Fury, a Let's Go Crazystyle rocker which starts strongly but descends into a string of lyrical cliches, possibly deliberate ('There ain't no fury like a woman scorned'), capped by a hardrock guitar solo that is the most hackneyed element of all.

Still, even that could be a hit!

The artist formerly known as a maker of great singles is back in business. A few more million people will buy 3121, but they'd get better value if they just downloaded tracks one, three, four and six.

CD REVIEW | 3121
Perfectionist Prince in top form
Thursday, March 23, 2006
Joan Anderman
THE BOSTON GLOBE



After a decade spent wandering in a musical outback — rigorously sticking to the fringes, alienating all but the most hard-core fans with quadruple discs of extreme material and smooth-jazz instrumental albums — Prince is back in the game.

3121, which went on sale this week, confirms that 2004’s vibrant, accessible Musicology was no aberration and that its creator, a rare musician who can do whatever he wants whenever he chooses, has decided exactly where he wants to be: in the spotlight and on the charts.

3121 isn’t groundbreaking. But fans who appreciate a return to form will be delighted with the top-notch batch of signature funk, bedroom jams and freaky soul tunes — all tweaked to perfection by pop’s savviest one-man band.

Twelve tracks fly by in less than 54 minutes, each an eartickling mash of the organic and the electronic, the sensual and the sacred, the rush of the dance floor and the spark of a head trip.

While no overarching theme or concept connects the songs, 3121 is most definitely an album, not a collection of tracks. It is brilliantly sequenced, unfurling textures and moods with thoughtful precision.

The title song, which opens the album, is an eccentric singalong — a languid funk groove stoked with surreal sound rubbings, Prince’s twisted falsetto, inimitable rock guitar and a maze of distorted harmonies.

We tumble headlong into snappy Lolita, a synth-driven ’80s pop tune that’s both a proclamation of virility and a defense of monogamy.

The Spanish-speaking temptress of the song perhaps is the inspiration for next track, Te Amo Corazon, a ballad notable for its lushly layered production but one that would be better suited to an Enrique Iglesias collection.

Black Sweat recalls Prince’s Kiss-era nastiness, all twitchy and minimalist, riddled with sick squeals. But Prince has also been listening to the contemporary-production gurus (the Neptunes and their ilk) whom he influenced so deeply, and Prince’s generous embrace of past and present seems meaningful at this point in the 47-year-old artist’s career.

Less appropriate and meaningful is his attempt at rapping on Incense and Candles. But that’s a small misstep on an album filled with satisfying moments that reveal their sometimes hidden depth with repeated spins.

Beautiful Loved and Blessed, a duet with R &B ingenue Tamar, features Prince making a rare excursion into the lower reaches of his vocal range, where he sounds shockingly warm and sincere.

Review from THE HARTFORD COURANT...
ALBUM REVIEW

'3121' by Prince

The Purple One bares his faithful, funky soul
March 23, 2006

By ERIC R. DANTON
Remember when Prince was the funkiest Lothario around, easing inhibitions with a sweet murmur and then underscoring his conquests with face-peeling guitar solos?

Well, he's back, sort of. The difference on "3121," his latest, is that Prince's only target for seduction is Mrs. Prince. It takes a little while to notice this, given the Purple One's skill here in persuading booties to shake of their own accord on grind-worthy songs such as "Black Sweat" ("You'll be screamin' like a white lady," ) and the latter-day intergalactic funk of the title track.

Listen a little more closely to the lyrics, though, and it's clear Prince isn't just indiscriminately flinging around sex-vibes. "Lolita/You're sweeter/But you'll never make a cheater out of me," he chides a would-be home-wrecker on "Lolita." From the sound of things on the intimate slow jam "Incense and Candles" (which includes a shout-out to "the one who made ya") and the startlingly ardent love song "Te Amo Corazon," Prince's attention is fully focused on keeping the home fires stoked.

He plays most of the instruments himself, though Prince makes room for saxophone virtuoso Maceo Parker on four of the 12 songs, and for percussionist Sheila E. on the old-school James Brown-style rave-up "Get on the Boat." He's also generous in ceding the microphone to Tamar, his latest protégé. She duets on "Beautiful, Loved & Blessed," and rounds out the vocals on four other tunes. Although she has a clear, pretty voice, Prince doesn't really need any help bringing the funk, or baring his soul, on "3121."

Review from UK website dotmusic.com:
Prince - '3121'
(Thursday March 23, 2006 3:06 PM )

Released on 20/03/06
Label: Universal

Hang out the bunting, have ticker-tape at the ready and breathe a collective sigh of relief. There's news from the front, and it's all good. The twenty-fifth album of Prince's twenty-eight year career is a true landmark. Following a decade of misguided, shapeless and self-gratifying nonsense, "3121" is his second good album in a row.

After the unexpected return to form that was last album, "Musicology", it seemed almost too much to hope that the diminutive force-of-pop's return from the funk wilderness was anything more than a one off; a brief and much appreciated reminder that he was once the greatest musical mind of a generation. No one dared think that it might be the start of an actual comeback. Now, two years of breath holding later, Prince fans get the news they could only have dreamt of: "3121" is better than "Musicology".

Well, almost. It's a close run thing, so close it's not really worth worrying about. All that matters is that for the second time in two albums, Prince is proving that he can handle funk without straying into the abyss; that verses and choruses are once again his friends. Better still, he's harnessed his off-head imagination as a force for mind-blowing good and he's got his production-genius head firmly screwed on.

If "Musicology" was Prince flexing his muscles and checking that all his old tricks were still in working order, "3121" is the living legend in him getting firmly back into his stride. "Musicology" was a thing of wonder for its focused simplicity: organic funk, spangled rock and tender seduction, pure and condensed. "3121" is an altogether more sophisticated proposition, awash with a confidence, elegance and subtly not seen since "Diamonds And Pearls".

The bleary, drunk funk and multi-tracked helium / baritone vocals of the title track set the tone as club ready R&B with that unmistakable, Princely strut, and things just get better from there. The sexy synth bounce of "Lolita", "Incense And Candles"' vintage soul with a twist and "Black Sweat"'s taut, trademarked trusting, all confirm that he knows Outkast and The Neptunes have been making good living out of his act, and he's ready to reclaim it.

Of course, there are those who'll note that, great as soul-rock show stopper "Fury" is and sweet as "Word"'s honeyed melodies are, they're nothing he wasn't doing 20 years ago. And it's true. But while "3121" might suggest that, at 47, Prince isn't looking to change the face of music anymore, he's clearly still more than capable of delivering classic Prince albums.

Perhaps the more critical question is whether Prince's comeback - and it's safe to call it that now - will excite anyone under the age of 30. On that, only time will tell, but it's safe to say that if the seething clatter of "Love" and the gorgeously sweet chorus which quietly soars from it doesn't make a whole new generation fall for his enigmatic charms, nothing will.
9 stars out of 10
by Dan Gennoe

PRINCE FUNKS BACK

A very positive review from Germany's TV station "ARD" (in German)

http://www.ard.de/kultur/...74/wad3ao/

Neues Album "3121"

Prince funkt zurück
Beginn des Inhaltes
Mit "3121" wird Prince seinem Superstar-Anspruch endlich wieder gerecht. Die Mischung machts: Mit dreckig-puristischem Funk, fluffigem R'n'B und göttlichem Soul erobert sich der Altmeister die Pole-Position in Sachen Pop zurück.


Superstar und Pop-Mythos: Prince3121 - das ist kein geheimnisvoller Zahlencode, auch nicht irgendein verzwacktes "Symbol" für irgendwas, sondern schlicht und ergreifend die Hausnummer von Prince' Wohnstätte in Los Angeles. Standesgemäß residiert er in einer Kitsch-beladenen Villa in Beverly Hills - dort wo die Reichen, Schönen und Satten hausen. Die, die es längst geschafft haben.

Und das hat Prince ohne Zweifel: Er ist der Funkaltmeister der 80er, er hat 100 Millionen Platten verkauft, uns zuckend verzaubert mit "Purple Rain" (1984) und "Sign 'O The Times" (1987); wurde zum "Pop-Mythos" erklärt noch vor seinem 30. Geburtstag. Doch das ist lange her, in musikalischen Zeitdimensionen mehr als eine halbe Ewigkeit. Dass in den folgenden Jahren der Absturz in die relative Bedeutungslosigkeit folgte, war fast absehbar. Nach Streitereien mit seiner Plattenfirma wurde er vorübergehend sogar namenlos. Das ist inzwischen überstanden, Prince ist längst wieder Prince.

Und es ist ja auch nicht so, dass Prince in den vergangenen Jahren nichts veröffentlicht hätte, doch interessiert hat das nur wenige, allenfalls für eingefleischte Fans waren seine musikalisch ambitionierten Ausflüge in teils sperrige Instrumental-Jazz- und Funkgefilde interessant. Seinem Superstar-Anspruch ist er nicht gerecht worden. Hand aufs Herz: Wer hat aus dem Gedächtnis einen Songtitel der letzten Alben parat? Und wer wartet heute noch tatsächlich sehnsüchtig auf ein neues Prince-Album?

Pop-Perle für den Mainstream


Zurück zum Sound der 80er: Prince-Album "3121"Nun also mit "3121" ein Hausnummer-Album, das weit mehr als eine Hausnummer ist. Es ist nicht weniger als eine Demonstration der Dominanz des inzwischen 47-Jährigen aus Minneapolis, der mit bürgerlichem Namen Roger Nelson heißt. Mit "3121" gelingt Prince ein eindrucksvolles Comeback für den Mainstream, eine wohl kalkulierte Pop-Perle reinsten Wassers. Prince spielt die richtigen Karten und zeigt eindrucksvoll, wer im Hause Soul & Funk nach wie vor die Hosen anhat: er und nur er. Eine ungemein vielseitige Platte, die auf Experimente weitgehend verzichtet, auf der es aber in ihrem Variantenreichtum ungemein viel zu entdecken gibt: Prince legt furios los, der Ohrwurm-kompatible Opener "3121" gibt mit seinen puristisch-knackenden Grooves Marschrichtung vor, der Griff des Hörers geht schon da unweigerlich in Richtung Bass- und Lautstärkeregler.

Schade, dass er den etwas schlaff-soften R'n'B-Latino-Titel "Te Amo Corazon" als erste Single ausgewählt hat. Ein gefälliger Song, der im Radio nicht weiter weh tut, aber der heimliche Hit "Lolita" oder das schlicht grandiose "Satisfied", das durchaus als Referenz an Soulgroßmeister Curtis Mayfield durchgehen könnte, wären eine mutigere Wahl gewesen.

Auf der Höhe der Zeit
Das Schöne: Prince erfindet sich nicht (einmal mehr) neu, er besinnt sich auf seine alten Stärken. Er zitiert mit schmissigen elektrofunkigen Keyboard-Riffs ("Lolita") die 80er, greift auch gern auf bewährte Songstrukturen zurück, verliert dabei aber nicht die Gegenwart aus den Augen. Er rockt ("Fury"), er schmachtet ("Satisfied"; "The Dance") und gibt den dreckigen Funkster ("Black Sweat").

"3121" ist eine Platte auf der Höhe der Zeit, die etwa mit dem Dancefloor-Kracher "Love" auch diejenigen Jung-Hintern zum Wackeln bringen wird, deren Eltern sich zu "Purple Rain" gerade erst kennen gelernt haben.

Stand: 23.03.2006

PRINCE FUNKS BACK

A very positive review from Germany's TV station "ARD" (in German)

http://www.ard.de/kultur/...74/wad3ao/

Neues Album "3121"

Prince funkt zurück
Beginn des Inhaltes
Mit "3121" wird Prince seinem Superstar-Anspruch endlich wieder gerecht. Die Mischung machts: Mit dreckig-puristischem Funk, fluffigem R'n'B und göttlichem Soul erobert sich der Altmeister die Pole-Position in Sachen Pop zurück.


Superstar und Pop-Mythos: Prince3121 - das ist kein geheimnisvoller Zahlencode, auch nicht irgendein verzwacktes "Symbol" für irgendwas, sondern schlicht und ergreifend die Hausnummer von Prince' Wohnstätte in Los Angeles. Standesgemäß residiert er in einer Kitsch-beladenen Villa in Beverly Hills - dort wo die Reichen, Schönen und Satten hausen. Die, die es längst geschafft haben.

Und das hat Prince ohne Zweifel: Er ist der Funkaltmeister der 80er, er hat 100 Millionen Platten verkauft, uns zuckend verzaubert mit "Purple Rain" (1984) und "Sign 'O The Times" (1987); wurde zum "Pop-Mythos" erklärt noch vor seinem 30. Geburtstag. Doch das ist lange her, in musikalischen Zeitdimensionen mehr als eine halbe Ewigkeit. Dass in den folgenden Jahren der Absturz in die relative Bedeutungslosigkeit folgte, war fast absehbar. Nach Streitereien mit seiner Plattenfirma wurde er vorübergehend sogar namenlos. Das ist inzwischen überstanden, Prince ist längst wieder Prince.

Und es ist ja auch nicht so, dass Prince in den vergangenen Jahren nichts veröffentlicht hätte, doch interessiert hat das nur wenige, allenfalls für eingefleischte Fans waren seine musikalisch ambitionierten Ausflüge in teils sperrige Instrumental-Jazz- und Funkgefilde interessant. Seinem Superstar-Anspruch ist er nicht gerecht worden. Hand aufs Herz: Wer hat aus dem Gedächtnis einen Songtitel der letzten Alben parat? Und wer wartet heute noch tatsächlich sehnsüchtig auf ein neues Prince-Album?

Pop-Perle für den Mainstream


Zurück zum Sound der 80er: Prince-Album "3121"Nun also mit "3121" ein Hausnummer-Album, das weit mehr als eine Hausnummer ist. Es ist nicht weniger als eine Demonstration der Dominanz des inzwischen 47-Jährigen aus Minneapolis, der mit bürgerlichem Namen Roger Nelson heißt. Mit "3121" gelingt Prince ein eindrucksvolles Comeback für den Mainstream, eine wohl kalkulierte Pop-Perle reinsten Wassers. Prince spielt die richtigen Karten und zeigt eindrucksvoll, wer im Hause Soul & Funk nach wie vor die Hosen anhat: er und nur er. Eine ungemein vielseitige Platte, die auf Experimente weitgehend verzichtet, auf der es aber in ihrem Variantenreichtum ungemein viel zu entdecken gibt: Prince legt furios los, der Ohrwurm-kompatible Opener "3121" gibt mit seinen puristisch-knackenden Grooves Marschrichtung vor, der Griff des Hörers geht schon da unweigerlich in Richtung Bass- und Lautstärkeregler.

Schade, dass er den etwas schlaff-soften R'n'B-Latino-Titel "Te Amo Corazon" als erste Single ausgewählt hat. Ein gefälliger Song, der im Radio nicht weiter weh tut, aber der heimliche Hit "Lolita" oder das schlicht grandiose "Satisfied", das durchaus als Referenz an Soulgroßmeister Curtis Mayfield durchgehen könnte, wären eine mutigere Wahl gewesen.

Auf der Höhe der Zeit
Das Schöne: Prince erfindet sich nicht (einmal mehr) neu, er besinnt sich auf seine alten Stärken. Er zitiert mit schmissigen elektrofunkigen Keyboard-Riffs ("Lolita") die 80er, greift auch gern auf bewährte Songstrukturen zurück, verliert dabei aber nicht die Gegenwart aus den Augen. Er rockt ("Fury"), er schmachtet ("Satisfied"; "The Dance") und gibt den dreckigen Funkster ("Black Sweat").

"3121" ist eine Platte auf der Höhe der Zeit, die etwa mit dem Dancefloor-Kracher "Love" auch diejenigen Jung-Hintern zum Wackeln bringen wird, deren Eltern sich zu "Purple Rain" gerade erst kennen gelernt haben.

Stand: 23.03.2006