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You've read the good...Now the bad...Entertainment Weekly--3121 Review 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] | |
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Thanks for posting these reviews murph, appreciate it.  | |
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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... | |
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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...You don't think P needs some 'du-dum t- t- clack- t- t- du-dum...'?  | |
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Fauxie said: Thanks for posting these reviews murph, appreciate it.
Thanks homie....Just trying to look out... | |
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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. | |
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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] 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. | |
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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. "That being said, he just hasn't broken any new ground at all" It could be that there is no new ground for him to break. Either you like 3121 or you don't. These guys trashed the CD and actually suggested that QuestLove produce him. The Roots can't give their CD's away so how would Prince be better off. | |
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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. ----- "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). " Co-Sign. With some people Prince can't win no matter what he does. | |
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Give me a break. I think we all hold Prince to a higher standard, but to expect him to break new ground AND be commercially viable after umpteen albums is ridiculous. No different than asking the worlds greatest lover to keep coming up with completely different tricks in the bedroom after making love to his wife 5000 times.
Lastly, unless a reviewer is commited to about 20 spins (unrealistic) their opinions mean nothing to me. 3121 is the best thing I have heard from Prince in decades. Not since Purple Rain have I loved every single tune on one of his albums. Bravo Prince. | |
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perilously caught in a time warp somewhere between cool-dated and wack-modern
I think that's a fair assessment. | |
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Again, I agree--I love the album....I love every track. It's highly listenable. I don't agree with everything the reviewer said....but I do agree with him in that Prince hasn't particularly stretched himself, and I suppose I think he should try... | |
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switters 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.
Why must Prince always "break new ground" everytime? I'll never understand why people always expect this of him,or any other artist.Music shouldn't have to "groundbreaking" to be good.Besides,how much more ground can he possibly break? We're talking about a guy who has already given us pop,funk,R&B,jazz,rock and everthing in between.You've already said that you're enjoying the album and that,in your opinion,it is his "best album in years".Isn't that enough? | |
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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... "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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DavidEye said: switters 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.
Why must Prince always "break new ground" everytime? I'll never understand why people always expect this of him,or any other artist.Music shouldn't have to "groundbreaking" to be good.Besides,how much more ground can he possibly break? We're talking about a guy who has already given us pop,funk,R&B,jazz,rock and everthing in between.You've already said that you're enjoying the album and that,in your opinion,it is his "best album in years".Isn't that enough? You make great points. 3121 IS enough for me in many respects. It's a very satisfying Prince album. I guess I think that an artist has a duty to stretch himself beyond the bounds of what he has done before. Sure, Prince has done this with certain projects--News, Rainbow Children....which I think are great. I guess my point is, how many times can we hear him do another soul ballad like "Satisfied", "On the Couch", "Insatiable", "Scandlous", etc....They're all good songs, but they kind of all sound the same. Do you know what I mean? I remember when SOTT came out---I put the needle on "Housequake" and thought it was the weirdest f*ckin thing I ever heard in my life. I hated it and thought it was bizarre. Repeated listenings made me realize how fresh and incredible it was. He had never recorded anything like it before...Same with "Lovesexy"---he kept stretching his sound, the song "Lovesexy" was so strange and new... I have this Prince documentary and Miles Davis is on it. It was released around the Lovesexy period. He says of Prince, "Everytime I hear him, it's a little bit more...a little bit more..." THAT'S what I guess I crave with his new material....and he hasn't really served up anything like it in a while...he's mostly settled into a groove, or comfort zone... and that's fine cuz 3121 is a great album of Prince songs....but there's nothing on it that makes you go, "Whoa--that's weird! or That's new!" | |
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switters said: DavidEye said: Why must Prince always "break new ground" everytime? I'll never understand why people always expect this of him,or any other artist.Music shouldn't have to "groundbreaking" to be good.Besides,how much more ground can he possibly break? We're talking about a guy who has already given us pop,funk,R&B,jazz,rock and everthing in between.You've already said that you're enjoying the album and that,in your opinion,it is his "best album in years".Isn't that enough? You make great points. 3121 IS enough for me in many respects. It's a very satisfying Prince album. I guess I think that an artist has a duty to stretch himself beyond the bounds of what he has done before. Sure, Prince has done this with certain projects--News, Rainbow Children....which I think are great. I guess my point is, how many times can we hear him do another soul ballad like "Satisfied", "On the Couch", "Insatiable", "Scandlous", etc....They're all good songs, but they kind of all sound the same. Do you know what I mean? I remember when SOTT came out---I put the needle on "Housequake" and thought it was the weirdest f*ckin thing I ever heard in my life. I hated it and thought it was bizarre. Repeated listenings made me realize how fresh and incredible it was. He had never recorded anything like it before...Same with "Lovesexy"---he kept stretching his sound, the song "Lovesexy" was so strange and new... I have this Prince documentary and Miles Davis is on it. It was released around the Lovesexy period. He says of Prince, "Everytime I hear him, it's a little bit more...a little bit more..." THAT'S what I guess I crave with his new material....and he hasn't really served up anything like it in a while...he's mostly settled into a groove, or comfort zone... and that's fine cuz 3121 is a great album of Prince songs....but there's nothing on it that makes you go, "Whoa--that's weird! or That's new!" I can understand that  | |
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switters said: 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.
Good point. I really can't think of any artist who pushed the boundaries twice - maybe Bowie - but really, there is noone that re-invents pop/roch in his 40s. I think we must accept that |
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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...
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!  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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Maybe this review is right in some way:
Its all about Prince doing nothing new, being cocky, being irrelevant With that i dont say 3121 is a bad record, i just express the feeling i think people in general will have: Oh Prince, he is still alive! Hey, this song sounds nice, i mean he isnt that bad, i liked U got the Look, maybe they will even sing along, or tap their toes... In my opinion 3121 is about Prince reconnecting with himselve again, after a long period of...well...shit: the WB row, the 'slave' thing, the selfchoosen obscurity (NPGMusicclub..anyone?), the death of his baby and his parents. The main public will probaly think: nice tune, or, nice beat.... but there are so many other artists today they can connect to, Prince isnt a person who makes people go: 'wow', they probably admire his efforts, but certainly wont run to the recordstore to buy 3121 Take it or leave it: thats how it is. | |
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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 it Tricky! Dead on the nail. 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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Once again, he fails to meet our great expectations.
...i stopped reading once i hit that line. | |
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This is my thing here. As said by others, why must Prince continue to break new ground. I think the only genre he hasn't done yet on CD is country and once he does that, he'll be dogged too, even if it's good. Part of the beauty of When Doves Cry was that it was unexpected. People knew he was different with 1999 but no one expected that. Now people always want avant garde and weird from him and as long as that happens, they'll keep on getting disappointed cause he's not in the same place as he was 20 years back and you know what, good for them. They deserve to be disappointed. Let Prince make good music and if he knocks you out, let it be because you weren't expected it. If not then boo hoo.
Another question. Why is it so bad to do something familiar? Let's look at 2 legends who released albums in the last year and a half: U2 and Madonna. They both did albums that were "familiar" and critics loved or liked their CD's but when Prince does something "familiar" oh he done fucked up again. Why the double standard? Damned if he does and damned if he doesn't. The critics are going to say what they want but anyone who's been a Prince fan for even a few years should know that it takes a few listens to get the CD's good or bad. The first listen is not going to tell you much, even if you like it the first time out. It's all about us making up our own mind and I know I have already. 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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Not far off the mark. Its a bit too harsh since 3121 is a step up from Musicology. Love, Lolita and Black Sweat are solid, prehaps great, tracks.
But its message that Prince needs to stop trying to impress by include one song from every style his done, even if its mediocre, is dead on. Also the suggestion that Prince pair up with new producers is not crazy. | |
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tricky99 said: 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). Perfectly stated. Which is why I like the direction he was headed with TRC, NEWS, etc... but I also understand his desire to remain commercial as well. So maybe we get a ratio of 2 experimental CDs for every 2 commercial CDs. Oh, and this whole "he doesn't break new ground"??? Who does in music anymore? Name me ONE artist that is breaking new ground right now. So many of today's artists sample the old school sounds, and because the young folf haven't heard it yet, they deem it ground breaking. Prince really is in a no win situation, but as long as he is "#1 at the bank" I am sure he sheds no tears! | |
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Is this collaberative review or from just one person? I just wonder why there is no name on it. | |
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A lazy, bullshit review. The Dance is masterful, so by dismissing that as "contrived" and "overblown Latin-shuffle melodrama," the only thing the critic is mocking is himself. | |
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Entertainment Weekly said: Once again, he fails to meet our great expectations. This is quite telling | |
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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...
That's exactly what i felt before i heard the actual album. Te Amo actually fits well inbetween the organic tracks because it's polish makes it stand out well. Black Sweat I skip every chance i get, tired manufactured drum pattern. But the rest of the album is ear candy. I think at this stage he's outdone himself. Like I read someone say he owes us nothing. That's because he's already in a league of his own. |
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I can't help but wonder what this Time Warner publication would have said about 3121 had Ultimate Prince not been canceled. |
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