Diamonds and Pearls

Diamonds and Pearls was released at a time when I was eagerly awaiting new albums from a few of my favourite bands and artists at the time. U2 had dropped the ball in my eyes with Achtung Baby a few weeks earlier, so I was concerned that on the back of the mixed bag that Graffiti Bridge had been, that maybe D&P would also be more let down. One listen through the record though I was happy to know that this was Prince back with a solid album.

With the opening vocals of Thunder I felt like I was being taken back to a LoveSexy era. His voice crisp and clean echoed through the room as the drums rolled over me. The song packs a punch from the outset, meshing world music instruments with the elements of funk. The track builds with each chorus until a torrential rain of funk covers you. It was if Prince was signaling to all those that had worried if he still had it, that he had it in spades.

The force and one-upmanship of Daddy Pop grabbed me from the opening exclamation. This track is on fire, frenetic and fuelled with wit as Prince lambastes all the doubters. After all this is the man that has “deep purple concord jams”. And this is one of them. Still to this day this song hooks me in and makes me put on my funk face.

With the focus squarely on composition, Prince crafts a perfect pop ballad with Diamonds and Pearls, The slow enticing build, the hopeful chorus that sweeps you away and the bridge that just transports you into a mini-rock opera. Wonderfully written with faultless production, everything finds its place.

Cream with its nod to T-Rex “Get It On” didn’t initially grab me. It felt too much like a Prince hit by the numbers. But who else do you know that can make a pop tune out of ejaculation that millions around the world would sing. Even if I felt the song was a little light I couldn’t deny it would be a hit. Now years after it’s release I feel like I have accepted it for what it is and now rather than fight against it, am more willing to let myself get caught up in the pop.

Taking a left turn in more jazzier tones, Strollin’ was actually the song that was playing in the record store when I bought the CD. I remember wanting to get in and out of there as soon as I could and not hear anymore until I could appreciate it. The playfulness of the song has Prince in a happy space and you can almost see his smile through the lyrical delivery. Again no faulting the production or playing here. It soothes and just gets you in its laidback groove.

With a Princely reworking of a boss nova Willing And Able is a song that doesn’t let up. It grabs you by the hand in the first bar and then leads you through a cool land of beautiful backing vocal and rippling guitar, and sweetly places a smile on your face. Even the rap didn’t seem as forced as it could have been. A fave.

That scream. That flute. The beat. Those lyrics. If people were wanting a return to form Gett Off delivers. It stalks the listener like an animal in heart, spewing lust filled lyrics with every step. Dripping in sex and seduction this takes a new look at funk and packages it for the 90s. Unlike other tracks on the album it still holds up, and while a post 2000 Prince may not ever play it again, it will always get a hearing at my place.

Walk Don’t Walk is a curious song. I can simultaneously love and hate this song. It just feels a little light at times and maybe a bit too simple and singsong. Accessible yes, catching, yes, but moving no. Unfortunately that feeling hasn’t altered over the years.

After the strength of the tracks thus far, it might have been too much to ask that the quality continue. Unfortunately Jughead proves that when you hand the power over to the NPG the output can be low voltage. With every member seeming to get their time on the mic, it appealed as an intro the band live, but on record it just left me feeling a bit detached. Maybe it was trying too hard to be cool, but it just doesn’t convince in its swagger.

Thankfully Money Don’t Matter 2 Night saved the final tracks from being all write off. It’s one of Prince’s classics, and at first listen I found myself feeling it wouldn’t have been out of place on Sign O The Times. It had that kind of quality to it. Thankfully, Prince leaves the NPG out of the equation for the most part and takes over the backing vocals with brilliant layering that just envelops you. A favourite that has held up with the best of the album.

Push with its new funk hook sounded like a possible left over from Batman. The production was on point, and the strings and backing sound effects just swirled around my head. Out of all the songs that felt like it was a band effort, this track came out the best.

Up to this point Adore was always THE Prince ballad. But while listening to Insatiable I felt a new challenger was emerging to take the title. Oh so smooth in the production, it just feels like you are strolling the halls of seduction. By this point in his career Prince had become a master at the make out jam and could craft a perfect r’n’b ballad. Here he lays out the blueprint that many would follow. Listening to it again now it still sounds fresh and bristling with excitement. Maybe it hasn’t taken the title from Adore but it gave a good fight.

Live 4 Love as a track was a highlight back in the day, it felt urgent and fuelled a bit by anger. It burst through the headphones and dropped a series of funk bombs with each passing verse. Now though, I feel more ambivalent about the track. I can’t truly explain it, maybe I have heard it too many times for it still have the same impart. But this funk rocker just doesn’t seem to soar as high as it once did.

And with the disc stopping I couldn’t help but feel happy that this was a Prince back in the game. Maybe a little more focused on commercial success and less on being experimental, it was an album that would prove to recapture the imagination of the lapsed listener and go on to sweep up another load of fans.

It still holds some killer tracks on it, but now I feel more drawn in to the 80% Prince 20% NPG tracks over the reverse.

you are the celebratinest orger around!

NDRU said:

you are the celebratinest orger around!

As stated when I set out on this journey - it is meant to be a recollection of the music - one album a day - with hopes of getting people to relisten and join in the discussion about what the music means to them, how they feel about the tracks - good, bad or indifferent.

Hope you are enjoying it.

Swa

No love for D&P?

Swa said:

No love for D&P?

[img:$uid]http://i497.photobucket.com/albums/rr337/val34prince/92OMBRE.jpg[/img:$uid]

it

I was a senior in highschool when this album came out. I remember being excited about it and that it was well liked by non Prince fans as well. It hasn't held up for me though as I look back at it, D&P is good but I don't like many of the songs. Strollin and D&P are my favorites.

What is the meaning of the song cream?

hhhhdmt said:

What is the meaning of the song cream?

If you read the recollection you would know... or is that you would cop?

Remove all traces of hip hop (Gangsta Glam?????? Yikes! The gun mic???? Oy!!) and I could celebrate it.

Loved "Cream" "Insatiable" "Strollin" and "Money Dont Matter"

"Willing and Able" is the only Prince track with hip hop I have ever somewhat liked.

hhhhdmt said:

What is the meaning of the song cream?

I think it is about the expression "cream rises to the top" and Prince is saying "you're the cream, get on top!" And he did, the song went to #1.

This song, along with Diamonds & Pearls always struck me as metaphors for Prince as a musician more than personal songs for people.

Diamonds and Pearls, the song, is his best song ever

NDRU said:

hhhhdmt said:

What is the meaning of the song cream?

I think it is about the expression "cream rises to the top" and Prince is saying "you're the cream, get on top!" And he did, the song went to #1.

This song, along with Diamonds & Pearls always struck me as metaphors for Prince as a musician more than personal songs for people.

Prince has said he wrote Cream looking into a mirror.

motherfunka said:

NDRU said:

I think it is about the expression "cream rises to the top" and Prince is saying "you're the cream, get on top!" And he did, the song went to #1.

This song, along with Diamonds & Pearls always struck me as metaphors for Prince as a musician more than personal songs for people.

Prince has said he wrote Cream looking into a mirror.

exactly, it's not about ejaculation (as stated in the OP), except as a double entendre

Swa said:

No love for D&P?

Much love for it! The only 2 duds for me were Strollin' and Walk Don't Walk. Loved Horny Pony, Gangster Glam, Violet The Organ Grinder, and Clockin' The Jizz. Didn't really get into the Cream remixes though. The videos were awesome. I was one of the lucky ones in the states to see 2 shows here.

NDRU said:

motherfunka said:

Prince has said he wrote Cream looking into a mirror.

exactly, it's not about ejaculation (as stated in the OP), except as a double entendre

Each to their own - but knowing Prince's penchant for a highly sexual song or three, there's a good chance the song has a sexual basis.

motherfunka said:

Swa said:

No love for D&P?

Much love for it! The only 2 duds for me were Strollin' and Walk Don't Walk. Loved Horny Pony, Gangster Glam, Violet The Organ Grinder, and Clockin' The Jizz. Didn't really get into the Cream remixes though. The videos were awesome. I was one of the lucky ones in the states to see 2 shows here.

Violet The Organ grinder was a sublime b-side and at times I think even better than Gett Off.

Swa said:

NDRU said:

exactly, it's not about ejaculation (as stated in the OP), except as a double entendre

Each to their own - but knowing Prince's penchant for a highly sexual song or three, there's a good chance the song has a sexual basis.

I definintely think it's a play on words and that he wants you to think cream in a nasty way, too

Swa said:

motherfunka said:

Much love for it! The only 2 duds for me were Strollin' and Walk Don't Walk. Loved Horny Pony, Gangster Glam, Violet The Organ Grinder, and Clockin' The Jizz. Didn't really get into the Cream remixes though. The videos were awesome. I was one of the lucky ones in the states to see 2 shows here.

Violet The Organ grinder was a sublime b-side and at times I think even better than Gett Off.

I know most people here, or anywhere for that matter, despise Tony M, but when they used to play Gangster Glam at the Glam Slam club - it freakin' rumbled! That's what was cool about going there, they would play all the Prince stuff. Where as most other clubs weren't playing the new stuff, just the old hits.

[Edited 9/30/10 11:51am]

motherfunka said:

Swa said:

Violet The Organ grinder was a sublime b-side and at times I think even better than Gett Off.

I know most people here, or anywhere for that matter, despise Tony M, but when they used to play Gangster Glam at the Glam Slam club - it freakin' rumbled! That's what was cool about going there, they would play all the Prince stuff. Where as most other clubs weren't playing the new stuff, just the old hits.

[Edited 9/30/10 11:51am]

Tony M for me was a take it or leave it situation - I never minded him that much on tracks at the time. Sometimes it hit, sometimes it missed - but I saw him more of a rappin' version of Jerome from The Time than a real addition to the band if that makes sense.

Swa said:

motherfunka said:

I know most people here, or anywhere for that matter, despise Tony M, but when they used to play Gangster Glam at the Glam Slam club - it freakin' rumbled! That's what was cool about going there, they would play all the Prince stuff. Where as most other clubs weren't playing the new stuff, just the old hits.

[Edited 9/30/10 11:51am]

Tony M for me was a take it or leave it situation - I never minded him that much on tracks at the time. Sometimes it hit, sometimes it missed - but I saw him more of a rappin' version of Jerome from The Time than a real addition to the band if that makes sense.

I don't think he's the worst rapper ever, but having anyone sing (or rap) other than Prince makes me feel like I am no longer listening to a Prince song. Especially with the NPG, because their sound was less like Prince than, say, The Time or The Family or Vanity 6.

I need to get that Cream Maxi single again. I loved that back in the day

Swa said:

No love for D&P?

I the 5 big singles. Especially the leading Gett Off single:

Back when the D&P album was released I thought this was Prince getting back on track. After the Batman soundtrack and the weird Graffiti Bridge movie (the related songs were pretty weak imo.), this D&P album was strong.

I still

D&P,

the 1992 album,

Come,

The Gold Experience

imo: those are very strong albums,

It wasn't untill Emancipation was released, I started to have my doubts about Prince's albums.

NPS, The Vault, Rave those from the second half of the 1990's decade were pretty bad.

I still play 'Insatiable', 'Gett Off', and 'Diamonds & Pearls' at least twice a week. Very nice album. I really miss Rosie Gaines and sad that Prince said he would never perform 'D&P' with anyone but her...I pray everyday that he reconsiders that because it's such a wonderful song. Whenever he does perform it live, it's only a small snippet of the song but it always sounds soo good. I really love the snippet of the song on 'The Purple Medley'...that was hot.

estelle81 said:

I still play 'Insatiable', 'Gett Off', and 'Diamonds & Pearls' at least twice a week. Very nice album. I really miss Rosie Gaines and sad that Prince said he would never perform 'D&P' with anyone but her...I pray everyday that he reconsiders that because it's such a wonderful song. Whenever he does perform it live, it's only a small snippet of the song but it always sounds soo good. I really love the snippet of the song on 'The Purple Medley'...that was hot.

I don't think he's ever been able to replace Rosie on the vocal stakes - her voice just added extra soul to his tracks. When he flicked the NPG, he should have held onto her.

Swa said:

Diamonds and Pearls

Diamonds and Pearls was released at a time when I was eagerly awaiting new albums from a few of my favourite bands and artists at the time. U2 had dropped the ball in my eyes with Achtung Baby a few weeks earlier, so I was concerned that on the back of the mixed bag that Graffiti Bridge had been, that maybe D&P would also be more let down. One listen through the record though I was happy to know that this was Prince back with a solid album.

With the opening vocals of Thunder I felt like I was being taken back to a LoveSexy era. His voice crisp and clean echoed through the room as the drums rolled over me. The song packs a punch from the outset, meshing world music instruments with the elements of funk. The track builds with each chorus until a torrential rain of funk covers you. It was if Prince was signaling to all those that had worried if he still had it, that he had it in spades.

The force and one-upmanship of Daddy Pop grabbed me from the opening exclamation. This track is on fire, frenetic and fuelled with wit as Prince lambastes all the doubters. After all this is the man that has “deep purple concord jams”. And this is one of them. Still to this day this song hooks me in and makes me put on my funk face.

With the focus squarely on composition, Prince crafts a perfect pop ballad with Diamonds and Pearls, The slow enticing build, the hopeful chorus that sweeps you away and the bridge that just transports you into a mini-rock opera. Wonderfully written with faultless production, everything finds its place.

Cream with its nod to T-Rex “Get It On” didn’t initially grab me. It felt too much like a Prince hit by the numbers. But who else do you know that can make a pop tune out of ejaculation that millions around the world would sing. Even if I felt the song was a little light I couldn’t deny it would be a hit. Now years after it’s release I feel like I have accepted it for what it is and now rather than fight against it, am more willing to let myself get caught up in the pop.

Taking a left turn in more jazzier tones, Strollin’ was actually the song that was playing in the record store when I bought the CD. I remember wanting to get in and out of there as soon as I could and not hear anymore until I could appreciate it. The playfulness of the song has Prince in a happy space and you can almost see his smile through the lyrical delivery. Again no faulting the production or playing here. It soothes and just gets you in its laidback groove.

With a Princely reworking of a boss nova Willing And Able is a song that doesn’t let up. It grabs you by the hand in the first bar and then leads you through a cool land of beautiful backing vocal and rippling guitar, and sweetly places a smile on your face. Even the rap didn’t seem as forced as it could have been. A fave.

That scream. That flute. The beat. Those lyrics. If people were wanting a return to form Gett Off delivers. It stalks the listener like an animal in heart, spewing lust filled lyrics with every step. Dripping in sex and seduction this takes a new look at funk and packages it for the 90s. Unlike other tracks on the album it still holds up, and while a post 2000 Prince may not ever play it again, it will always get a hearing at my place.

Walk Don’t Walk is a curious song. I can simultaneously love and hate this song. It just feels a little light at times and maybe a bit too simple and singsong. Accessible yes, catching, yes, but moving no. Unfortunately that feeling hasn’t altered over the years.

After the strength of the tracks thus far, it might have been too much to ask that the quality continue. Unfortunately Jughead proves that when you hand the power over to the NPG the output can be low voltage. With every member seeming to get their time on the mic, it appealed as an intro the band live, but on record it just left me feeling a bit detached. Maybe it was trying too hard to be cool, but it just doesn’t convince in its swagger.

Thankfully Money Don’t Matter 2 Night saved the final tracks from being all write off. It’s one of Prince’s classics, and at first listen I found myself feeling it wouldn’t have been out of place on Sign O The Times. It had that kind of quality to it. Thankfully, Prince leaves the NPG out of the equation for the most part and takes over the backing vocals with brilliant layering that just envelops you. A favourite that has held up with the best of the album.

Push with its new funk hook sounded like a possible left over from Batman. The production was on point, and the strings and backing sound effects just swirled around my head. Out of all the songs that felt like it was a band effort, this track came out the best.

Up to this point Adore was always THE Prince ballad. But while listening to Insatiable I felt a new challenger was emerging to take the title. Oh so smooth in the production, it just feels like you are strolling the halls of seduction. By this point in his career Prince had become a master at the make out jam and could craft a perfect r’n’b ballad. Here he lays out the blueprint that many would follow. Listening to it again now it still sounds fresh and bristling with excitement. Maybe it hasn’t taken the title from Adore but it gave a good fight.

Live 4 Love as a track was a highlight back in the day, it felt urgent and fuelled a bit by anger. It burst through the headphones and dropped a series of funk bombs with each passing verse. Now though, I feel more ambivalent about the track. I can’t truly explain it, maybe I have heard it too many times for it still have the same impart. But this funk rocker just doesn’t seem to soar as high as it once did.

And with the disc stopping I couldn’t help but feel happy that this was a Prince back in the game. Maybe a little more focused on commercial success and less on being experimental, it was an album that would prove to recapture the imagination of the lapsed listener and go on to sweep up another load of fans.

It still holds some killer tracks on it, but now I feel more drawn in to the 80% Prince 20% NPG tracks over the reverse.

"SERAPHINE " is a very good movie

LOOOOVE Diamonds&Pearls album,enjoyed it so much when it was released..also the b-sides

Violet... and Horny Pony and all the rest.

Commercial? Yes, but very good,solid album with great vid's(his best since the PR era.)

All time fav's: Gett Off, Cream and Money don't matter...

Yup, a top 5 album in my Prince collection!

Swa said:

estelle81 said:

I still play 'Insatiable', 'Gett Off', and 'Diamonds & Pearls' at least twice a week. Very nice album. I really miss Rosie Gaines and sad that Prince said he would never perform 'D&P' with anyone but her...I pray everyday that he reconsiders that because it's such a wonderful song. Whenever he does perform it live, it's only a small snippet of the song but it always sounds soo good. I really love the snippet of the song on 'The Purple Medley'...that was hot.

I don't think he's ever been able to replace Rosie on the vocal stakes - her voice just added extra soul to his tracks. When he flicked the NPG, he should have held onto her.

Agreed. Rosie was a gem and he should have gone out of his way to keep her in his inner circle. I still absolutely adore her and Prince's version of 'Nothing Compares 2 U'. That version of the song makes Sinead O' Connor's version sound like a wet fart to me. Just my

I played this album to death when it was released. The addition of Rosie Gaines was brilliant. She made some of those ok songs like Push, D&P, and Daddy Pop shine imo. Tony M sucked but ws tolerable in some of the tunes like Gett Off and Willing & Able (both TOP Prince songs). Overall a solid album in Prince's library. I have never been a big fan of Symbol, one of the major reasons was the absence of Rosie and the OVERUSE of Tony.

Poplife88 said:

I played this album to death when it was released. The addition of Rosie Gaines was brilliant. She made some of those ok songs like Push, D&P, and Daddy Pop shine imo. Tony M sucked but ws tolerable in some of the tunes like Gett Off and Willing & Able (both TOP Prince songs). Overall a solid album in Prince's library. I have never been a big fan of Symbol, one of the major reasons was the absence of Rosie and the OVERUSE of Tony.

tony shouldnt have been used in the first place