Emancipation

The year was 1996 and word that a triple disc from was on it’s way. Press interviews at the time talked how he was calling this the album “I was born to make”. With his contract with Warners well and truly over (save from them pumping out repackaged greatest hits and old tunes like new) this was the first official released on NPG Records alone. He was an artist finally free to do what he wanted, release a disc how he wanted (3 sides, 12 songs per disc and one hour each), and do things his way.

I can remember rushing home to hear this cd and somewhere along the line seeing him on Oprah performing cuts from it (Sleep Around in particular) and being interviewed. It felt like he was ready to be the musician the last few years had perhaps stifled him from being.

So with much anticipation and optimism I put in each disc, and quickly listened to between 5 – 10 seconds of each song. A quick sampling of every track before popping disc one in and sitting back to truly listen.

DISC I

With its teasing intro Jam of the Year had me guessing, what was it going to be like? Then with a wooooo the laid back groove hit with that accompanying horn and piano melody. Accustomed to hard-hitting openers, JOTY was cruisier. I always pictured this as the top down, volume up cruise the oceans winding roads car song that made me long for a convertible. The fluttering flute took me back to Gett Off and that can’t be a bad thing now can it. And the strong vocals of Rosie made me wonder if this had been a sleeper from an earlier album. With an obvious reference to Mayte and her pregnancy this song had an optimistic feel to it, a lightness that had been missing from some of the previous albums work. A great start, but what next….

With that infectious beat and sliding synth line, Right Back Here In My Arms had me from the get go. That bubbling bass synth that plods along in the verses (and let’s face it the song is really all verses) this song of longing was funky in a truly purple fashion.

When Somebody’s Somebody burst from my speakers I was thinking “man this is a string of solid openers” and once again he had me. With a sway with the music vibe SS was a pure delight to listen to. Everything that makes a great song was there, a beautiful melody, vocal hooks, an identifiable emotion, and those layered vocals. I love how Prince’s resolve increases with every passing chorus. How smooth is that guitar solo near the end? Just when you thought this was the quintessential version of this the LiveStudio version released as a b-side to Holy River took it to another level.

Stepping it up a notch, Get Your Groove on is more up-tempo than the preceding songs. Almost reinventing the 70s “shake your groove thang-esque” songs there is a definite party vibe at work here. Vocals delivered with joy, and a melody line in the higher register this song wants twinkling lights and flowing drinks and a few good friends.

With a throwback to Delirious, Courtin’ Time is a playful little ditty. Once again showing he can do any style of music, the song seems to stick out a little too much to the rest of the groove on this disc, and unfortunately feels a bit throwaway to me, perhaps why it’s the shortest track on the collection.

What can one say about Betcha By Golly Wow! When the man himself calls it “maybe the prettiest melody ever written” who am I to argue. And pretty is the word that sums it up best. There is a joy and innocence in this song that in lesser hands could have easily drifted into schmaltzy but here it all sounds cool. So serene.

Countering the prettiness of BBGW, We Gets Up brings the funk. The most up-tempo track on the first disc it’s the party in full swing tune of the set. Funny thing is, I listen to this and think that it might have been more a The Time song than a track.

My favourite song on disc 1, White Mansion is all dreams (realised). With its groove along vibe, effects and spiralling synth lines this was a song that was a focus point for me as I was starting to think about my future, leaving childhood behind and starting to build a career. And now several years later it still has the same appeal it held then. I would have loved to see how this one played live. And I loved the self referencing lines that drew attention to what this whole was about “sell my publishing rights? What a laugh. I don’t know Bo but I do know math”.

Damned if Eye Do with its classic rock structure feels a little undercooked and dare I say it simplistic. It’s the kind of song that reminded me of Terence Trent D’arby doing Prince.

When a song as beautifully crafted as Bonnie Raitt's I Can’t Make You Love Me plays you feel the emotion that is poured into it. And knowing a beautiful melody when he hears one doesn’t mess with the arrangement or try to reinvent it, he just pours out his heart and takes it on as his own. One of the most heartfelt songs every written. And one of the most amazing covers he has done.

To go from ICMYLM to Mr Happy was a weird choice. But once the initial shock to the system past I found myself drawn into this almost dark party jam – something about the delivery of “I will take care of you” always came across as menacing to me, and I loved that. Maybe it was the crazed almost twisted circus like synth line. Scrap D’s rap with reference to I Hate U and Ice Cube sample this song is on point.

In This Bed I Scream – dedicated to Wendy & Lisa and Susannah, there is a nostalgic feel to this song that is enticing. With lines like “how did we every lose communication?” you could almost feel the olive branch being offered. Here is a man facing up to his decisions of the past, and looking for a fresh start. This song is in the stratosphere of cool. A blend of old and new. Of past and future. This has White Mansion and Somebody’s Somebody tied for the song of disc 1.

DISC II

As I popped in disc 2 I wasn’t sure if this was a continuation, or a new start. The more I listen to the collection I feel the album was broken up into 3 distinct sets. And whilst I admire the brilliance of the collection, I wonder if there was just too much music to listen to. Would things have been different if instead of a 3 disc set, it was a 3 disc collection released one disc at a time every 4 months in year, giving people the chance to absorb the strength of each disc.

As it was when Sex in the Summer hit I smiled. The vocal intro set the cool factor of the song, and the Bernie Warrol meets ultrasound heart beat inspired blipping bass just grounded it in the funk. I looped this song 3 times once and just lay on the floor feeling the sunshine. Roy Ayres would be proud.

One Kiss at a Time… hmmm listening to it now I feel like I haven’t even heard it before. Maybe it’s cause of all the discs, the second one was the one that had the most ups and downs for me. I mean the feel of the song is rippling like water, but I remember not thinking too much of the more ballad like songs on the set. And would often fast forward them. Maybe it’s because I felt that the arrangements were familiar.

I once read in an interview that Spike Lee played Soul Sanctuary for 6 hours continuously. And whilst I’m not sure I could go 6 hours, (my limit would be 5:55) the song does have a certain hypnotic quality to it.

Emale – what an awesome song. With it’s sinister stylings, and playfully told story of online seduction, I loved the delivery of www.(rim shot). This is the song that sold disc 2 for me. It’s twisted. It’s brooding. It’s on it’s on it’s on.

Curios Child reminded me too much in its arrangement of Kiss From a Rose from Seal, and thus it never had a chance to recover.

Thankfully pressing >> delivered the sublime Dreamin’ about U a song that always sounds fresh. Reminding me slightly of the SOTT era, this song is the perfect blend of experimental and familiar, and for the record… a killer make out song. <wink>

And then Joint 2 Joint hit, and the make out was on! A flirty little song this one, it’s got that cool a$$ prince vocal delivery that just oozes seduction. When the breakdown hits at the 2 minute mark the song warps its way into a new phase. And with each passing progression we go from tap to a plucking bass that works over your speakers to the climax. And what about those last 50 seconds, lol.

The Holy River I know is a lot of people’s favourite song on this set, but I never really got into it that much. I can appreciate the arrangement, and the message, but I just never got into it. Now though, I hear it and hear new things my ears back then maybe weren’t ready for. The song seems joyous were I use to feel it was drab. And the guitar solo at the end now carries me off to that awesome hit quick crescendo.

A prelude to one night alone, Let’s Have A Baby is pure in the zone, vocal and piano working as one, and has that one take feel I just love.

Saviour straight away has that epic rock opera feel. And each time I just wait for it to take me away, and sure enough it does. I remember making a cd once of the epic tracks and this butted up against 3 chains of gold is just too powerful.

The Plan – a snippet from Kamasutra unfortunately didn’t make me long to hear the rest of it.

Friend Lover Sister Mother/Wife seemed a fitting way to end the second disc, as this one seemed the most in love, the most romantic. This is a purple gospel, joyful, passionate and uplifting. One of the most touching songs on the album.

DISC III

Slipping in disc 3, I was greeted with the thumping bass beat of Slave and the spooky low register intro vocals. And I was hooked, and then double hooked at “soooooooul”. What I loved about this song was that the lower tones seemed to wallow in sadness and despair but as the song progressed with each verse the tone lifted and lifted to the middle register then to the higher, as if the weight dragging the tone down was being lifted. And with that enmass drum line counter to the chorus, the power just erupted from the speakers. And I loved how the argument of being a slave to a CONtract (ever notice how contracts restrict) is so eloquently put here. “I just want to play the part of someone truly free”. And the last few seconds that have counter the laughter in the left speaker and the sorrow in the right was well worth wearing headphones for.

Whereas in the past the techno dance attempts hadn’t really paid off and felt more like someone playing catch up than pioneering, Brave New World righted all those wrongs. With its bubbling bass line accentuated by bass stabs, its grounded in a funk fused groove. And the return of the classic synth line is here and long overdue. And with silky smooth “love 4 1another” vocals just icing this pound cake you know you wanted a bite. Still sounds as fresh to me today as it did back then.

Continuing the pumping dance feel with The Human Body I was taken back to Batdance and the mixing pot of sounds and melodies that was. The mix of isolation and celebration collide in such wonderful tones here. A true joy to have pounding in my brain. Especially the elongated final passage.

I was never a real fan of Face Down. But listening to it now it doesn’t seem as harsh and gangsta wannabe as I originally dismissed it to be. In fact the delivery of the track in that half spoken half rapped version reminds me of Beck’s Odelay album and the very Prince inspired stuff on Midnight Vultures. I’m gaining a new appreciation for this track now, and I’m loving feeling this. Ah the joys of rediscovering,

Countering the in your face attack of Face Down is La La-La (Means I love you). It’s a pretty enough song, and what surprised me was that it highlighted how many covers are on here, something I wasn’t expecting, but something that adds a bit more colour to the various discs.

From the opening synth bass line and horns I loved Style. Befitting the subject matter it was a cruisey funk vibe that didn’t try too hard to be anything else but what it is. I loved the lyrically style manifesto being dished here with the little affirmation and inspirational quotes “style is loving yourself til everyone else does too”, “style don’t get drunk on Saturday night and try to dress up every Sunday morning bright”, “style is not biting style when you can’t find the funk” (puffy are you listening). I remember this was my suit up song when I was getting ready for a night out. It just had a self confidence feel that was contagious. Still makes me puff my chest a bit and say “yeah”.

Why wasn’t Sleep Around a single? I mean seriously how slamming is this song. At right in the pocket for that time and space. The subtle house feel and bounce bounce melody and vocal line. Just listening to it now I got my funk face on and grooving in my chair. This was THE $HIT and it should have been a single.

Da Da Da like Face Down were the skippers for me on this disc. And even now I’m not moved by it. Oh well, can’t please everyone all the time.

Now My Computer was a pleaser and still is. With it’s (a the time) techno savvy feel, and stripped back arrangement it seems to really personify the isolation and coldness that the internet offers an escape from. With obvious Kate Bush influence (the treaded vocals are very Cloudbusting) the alternating despair and hope of the verse and chorus arrangement made it immediately enjoyable. And with the plodding groove that transcends into that funky “better life” hook at then end makes it one of the stand outs of the whole set.

With a Love Thy Will Be Done rhythm backing it, One Of Us (the Joan Osborne hit from only a few years earlier) has a live feel to it that seems to fuel it with greater sense of hope and faith (listen to the low mix “we’re gonna play this song” intro at 0:12). I once did a compile that mixed Love Thy Will Be Done – One of Us – The Cross that I use to listen to and it had such a sense of reassurance to it.

The Love We Make is a song filled with lament and loss in the same mould of Purple Rain, and just soars. It’s a beautiful heartfelt song written for Wendy’s brother who unfortunately died from a drug overdose (put down the needle put down the spoon).

Refreshing the funk groove of The Sacrifice of Victor, Emancipation lets a free man rejoice. I remember I use to pump this song LOUD feeling the freedom wash over me. All of us have shackles we should be free of and here was a man who had broken his, and was finally “free to do what I want”. I had wanted more of a build or crescendo to the track – why did I expect a gospel choir? – but as it stands it a song befitting the freedom he had worked hard for.

So was emancipation the big success it should have been? No

Was it the album we had all hoped it would be? I think for the most part yes.

Was it to ambitious a product for most people to get into? Most definitely. As I mentioned earlier, and I don’t think I am alone, I felt it was too much music obviously for one session. Which meant that for the most part, you skipped through songs, or listened to one disc or two at a time, which robbed you from the intended experience. I still think it might have been wiser to release the discs individually – one every 4 months – to allow people to fully digest the music and enjoy it. No to mention also allow for a constant build. But I’m not the creator of the music, so ultimately you have to leave that ultimate decision to Prince/. He wanted to make a statement. And with this he showed how when you are given complete artist freedom, some truly wonderful moments can arise.

And if you are reading this line – then thank you – I know it was a mammoth post, but to not give Emancipation the due discussion it deserved would be to rob it of its beauty.

So what do you think?

I totally love all 3 cds. Disc II is my fave out of the three.

Thank you for putting this thread together

I know there will be eternal debate on if Emancipation was a single disc instead of 3 - but as a set I think the tracks lend great balance. The only tough part is you rarely have time to sit and listen to them all in one sitting.

Swa said:

I know there will be eternal debate on if Emancipation was a single disc instead of 3 - but as a set I think the tracks lend great balance. The only tough part is you rarely have time to sit and listen to them all in one sitting.

It's always fun to revisit these threads. Thanks SWA for putting them together.

Many os uf have talked about this before, in my opinion, this is the best set of Prince songs to be buried by horriible production.

There are about 15 brilliant songs in here that could have been saved with a varied approach. I still dig this album big time, it just could have been a classic.

This continues to be my favorite prince album after SOTT.

It was just so inspired.

When you go from Chaos and disorder, to Emancipation,

you go "Oh so thats what he was hiding from Warners"

pretty damn good.

great review

I got Emancipation only last year. Cd 3 1st

Slave – doesn’t grab me.

New world - Dig this and it normally gets a repeat. Vocals, beat, dark bass, lyrics, a total package of delight.

Human body – Love all the little freaky sounds, the vocals, changes at 2.32 with the loop back into the original groove….naughty little number with hidden power and fast rhythm. From 4.41 I can just overdose on parts like this.

Face down – Rap. No thanks.

La-la means I love u – The lyrics in Prince’s ballads are normally the key part for me. Still the music for each is always original and beautiful. Pretty, pretty this, & clear lyrics always make a difference.

Style – doesn’t grab me. Lyrics are nice but melody too monotonous.

Sleep around – Sexy, loungy, groovy, dreamy, everything is there for the taking in this one. Agree with you Swa on this song. If I had heard it back then I would have liked it too. I don’t listen to this track enough though. I need to make new playlists instead of writing reviews.

Da-da-da – it’s not Prince?

My computer – Very true to life this, more so today for me than back then when the cd came out. Pure lyrics, & mellow tune. Outro also reflects song theme well.

One of us – beginning sounds like I wish u heaven. I like the original version. I seldom like copies of songs by others. I know it's a cover, but it feels like a copy to me.

The love we make – beautiful. (just read the reason 4 the song. Thanks SWA. Wow!).

Emancipation – didn’t make it to my ipod, I don’t like the chorus. I like the message in the booklet though; very inspiring.

Swa said:

Emancipation

The year was 1996 and word that a triple disc from was on it’s way. Press interviews at the time talked how he was calling this the album “I was born to make”. With his contract with Warners well and truly over (save from them pumping out repackaged greatest hits and old tunes like new) this was the first official released on NPG Records alone. He was an artist finally free to do what he wanted, release a disc how he wanted (3 sides, 12 songs per disc and one hour each), and do things his way.

I can remember rushing home to hear this cd and somewhere along the line seeing him on Oprah performing cuts from it (Sleep Around in particular) and being interviewed. It felt like he was ready to be the musician the last few years had perhaps stifled him from being.

So with much anticipation and optimism I put in each disc, and quickly listened to between 5 – 10 seconds of each song. A quick sampling of every track before popping disc one in and sitting back to truly listen.

DISC I

With its teasing intro Jam of the Year had me guessing, what was it going to be like? Then with a wooooo the laid back groove hit with that accompanying horn and piano melody. Accustomed to hard-hitting openers, JOTY was cruisier. I always pictured this as the top down, volume up cruise the oceans winding roads car song that made me long for a convertible. The fluttering flute took me back to Gett Off and that can’t be a bad thing now can it. And the strong vocals of Rosie made me wonder if this had been a sleeper from an earlier album. With an obvious reference to Mayte and her pregnancy this song had an optimistic feel to it, a lightness that had been missing from some of the previous albums work. A great start, but what next….

With that infectious beat and sliding synth line, Right Back Here In My Arms had me from the get go. That bubbling bass synth that plods along in the verses (and let’s face it the song is really all verses) this song of longing was funky in a truly purple fashion.

When Somebody’s Somebody burst from my speakers I was thinking “man this is a string of solid openers” and once again he had me. With a sway with the music vibe SS was a pure delight to listen to. Everything that makes a great song was there, a beautiful melody, vocal hooks, an identifiable emotion, and those layered vocals. I love how Prince’s resolve increases with every passing chorus. How smooth is that guitar solo near the end? Just when you thought this was the quintessential version of this the LiveStudio version released as a b-side to Holy River took it to another level.

Stepping it up a notch, Get Your Groove on is more up-tempo than the preceding songs. Almost reinventing the 70s “shake your groove thang-esque” songs there is a definite party vibe at work here. Vocals delivered with joy, and a melody line in the higher register this song wants twinkling lights and flowing drinks and a few good friends.

With a throwback to Delirious, Courtin’ Time is a playful little ditty. Once again showing he can do any style of music, the song seems to stick out a little too much to the rest of the groove on this disc, and unfortunately feels a bit throwaway to me, perhaps why it’s the shortest track on the collection.

What can one say about Betcha By Golly Wow! When the man himself calls it “maybe the prettiest melody ever written” who am I to argue. And pretty is the word that sums it up best. There is a joy and innocence in this song that in lesser hands could have easily drifted into schmaltzy but here it all sounds cool. So serene.

Countering the prettiness of BBGW, We Gets Up brings the funk. The most up-tempo track on the first disc it’s the party in full swing tune of the set. Funny thing is, I listen to this and think that it might have been more a The Time song than a track.

My favourite song on disc 1, White Mansion is all dreams (realised). With its groove along vibe, effects and spiralling synth lines this was a song that was a focus point for me as I was starting to think about my future, leaving childhood behind and starting to build a career. And now several years later it still has the same appeal it held then. I would have loved to see how this one played live. And I loved the self referencing lines that drew attention to what this whole was about “sell my publishing rights? What a laugh. I don’t know Bo but I do know math”.

Damned if Eye Do with its classic rock structure feels a little undercooked and dare I say it simplistic. It’s the kind of song that reminded me of Terence Trent D’arby doing Prince.

When a song as beautifully crafted as Bonnie Raitt's I Can’t Make You Love Me plays you feel the emotion that is poured into it. And knowing a beautiful melody when he hears one doesn’t mess with the arrangement or try to reinvent it, he just pours out his heart and takes it on as his own. One of the most heartfelt songs every written. And one of the most amazing covers he has done.

To go from ICMYLM to Mr Happy was a weird choice. But once the initial shock to the system past I found myself drawn into this almost dark party jam – something about the delivery of “I will take care of you” always came across as menacing to me, and I loved that. Maybe it was the crazed almost twisted circus like synth line. Scrap D’s rap with reference to I Hate U and Ice Cube sample this song is on point.

In This Bed I Scream – dedicated to Wendy & Lisa and Susannah, there is a nostalgic feel to this song that is enticing. With lines like “how did we every lose communication?” you could almost feel the olive branch being offered. Here is a man facing up to his decisions of the past, and looking for a fresh start. This song is in the stratosphere of cool. A blend of old and new. Of past and future. This has White Mansion and Somebody’s Somebody tied for the song of disc 1.

DISC II

As I popped in disc 2 I wasn’t sure if this was a continuation, or a new start. The more I listen to the collection I feel the album was broken up into 3 distinct sets. And whilst I admire the brilliance of the collection, I wonder if there was just too much music to listen to. Would things have been different if instead of a 3 disc set, it was a 3 disc collection released one disc at a time every 4 months in year, giving people the chance to absorb the strength of each disc.

As it was when Sex in the Summer hit I smiled. The vocal intro set the cool factor of the song, and the Bernie Warrol meets ultrasound heart beat inspired blipping bass just grounded it in the funk. I looped this song 3 times once and just lay on the floor feeling the sunshine. Roy Ayres would be proud.

One Kiss at a Time… hmmm listening to it now I feel like I haven’t even heard it before. Maybe it’s cause of all the discs, the second one was the one that had the most ups and downs for me. I mean the feel of the song is rippling like water, but I remember not thinking too much of the more ballad like songs on the set. And would often fast forward them. Maybe it’s because I felt that the arrangements were familiar.

I once read in an interview that Spike Lee played Soul Sanctuary for 6 hours continuously. And whilst I’m not sure I could go 6 hours, (my limit would be 5:55) the song does have a certain hypnotic quality to it.

Emale – what an awesome song. With it’s sinister stylings, and playfully told story of online seduction, I loved the delivery of www.(rim shot). This is the song that sold disc 2 for me. It’s twisted. It’s brooding. It’s on it’s on it’s on.

Curios Child reminded me too much in its arrangement of Kiss From a Rose from Seal, and thus it never had a chance to recover.

Thankfully pressing >> delivered the sublime Dreamin’ about U a song that always sounds fresh. Reminding me slightly of the SOTT era, this song is the perfect blend of experimental and familiar, and for the record… a killer make out song. <wink>

And then Joint 2 Joint hit, and the make out was on! A flirty little song this one, it’s got that cool a$$ prince vocal delivery that just oozes seduction. When the breakdown hits at the 2 minute mark the song warps its way into a new phase. And with each passing progression we go from tap to a plucking bass that works over your speakers to the climax. And what about those last 50 seconds, lol.

The Holy River I know is a lot of people’s favourite song on this set, but I never really got into it that much. I can appreciate the arrangement, and the message, but I just never got into it. Now though, I hear it and hear new things my ears back then maybe weren’t ready for. The song seems joyous were I use to feel it was drab. And the guitar solo at the end now carries me off to that awesome hit quick crescendo.

A prelude to one night alone, Let’s Have A Baby is pure in the zone, vocal and piano working as one, and has that one take feel I just love.

Saviour straight away has that epic rock opera feel. And each time I just wait for it to take me away, and sure enough it does. I remember making a cd once of the epic tracks and this butted up against 3 chains of gold is just too powerful.

The Plan – a snippet from Kamasutra unfortunately didn’t make me long to hear the rest of it.

Friend Lover Sister Mother/Wife seemed a fitting way to end the second disc, as this one seemed the most in love, the most romantic. This is a purple gospel, joyful, passionate and uplifting. One of the most touching songs on the album.

DISC III

Slipping in disc 3, I was greeted with the thumping bass beat of Slave and the spooky low register intro vocals. And I was hooked, and then double hooked at “soooooooul”. What I loved about this song was that the lower tones seemed to wallow in sadness and despair but as the song progressed with each verse the tone lifted and lifted to the middle register then to the higher, as if the weight dragging the tone down was being lifted. And with that enmass drum line counter to the chorus, the power just erupted from the speakers. And I loved how the argument of being a slave to a CONtract (ever notice how contracts restrict) is so eloquently put here. “I just want to play the part of someone truly free”. And the last few seconds that have counter the laughter in the left speaker and the sorrow in the right was well worth wearing headphones for.

Whereas in the past the techno dance attempts hadn’t really paid off and felt more like someone playing catch up than pioneering, Brave New World righted all those wrongs. With its bubbling bass line accentuated by bass stabs, its grounded in a funk fused groove. And the return of the classic synth line is here and long overdue. And with silky smooth “love 4 1another” vocals just icing this pound cake you know you wanted a bite. Still sounds as fresh to me today as it did back then.

Continuing the pumping dance feel with The Human Body I was taken back to Batdance and the mixing pot of sounds and melodies that was. The mix of isolation and celebration collide in such wonderful tones here. A true joy to have pounding in my brain. Especially the elongated final passage.

I was never a real fan of Face Down. But listening to it now it doesn’t seem as harsh and gangsta wannabe as I originally dismissed it to be. In fact the delivery of the track in that half spoken half rapped version reminds me of Beck’s Odelay album and the very Prince inspired stuff on Midnight Vultures. I’m gaining a new appreciation for this track now, and I’m loving feeling this. Ah the joys of rediscovering,

Countering the in your face attack of Face Down is La La-La (Means I love you). It’s a pretty enough song, and what surprised me was that it highlighted how many covers are on here, something I wasn’t expecting, but something that adds a bit more colour to the various discs.

From the opening synth bass line and horns I loved Style. Befitting the subject matter it was a cruisey funk vibe that didn’t try too hard to be anything else but what it is. I loved the lyrically style manifesto being dished here with the little affirmation and inspirational quotes “style is loving yourself til everyone else does too”, “style don’t get drunk on Saturday night and try to dress up every Sunday morning bright”, “style is not biting style when you can’t find the funk” (puffy are you listening). I remember this was my suit up song when I was getting ready for a night out. It just had a self confidence feel that was contagious. Still makes me puff my chest a bit and say “yeah”.

Why wasn’t Sleep Around a single? I mean seriously how slamming is this song. At right in the pocket for that time and space. The subtle house feel and bounce bounce melody and vocal line. Just listening to it now I got my funk face on and grooving in my chair. This was THE $HIT and it should have been a single.

Da Da Da like Face Down were the skippers for me on this disc. And even now I’m not moved by it. Oh well, can’t please everyone all the time.

Now My Computer was a pleaser and still is. With it’s (a the time) techno savvy feel, and stripped back arrangement it seems to really personify the isolation and coldness that the internet offers an escape from. With obvious Kate Bush influence (the treaded vocals are very Cloudbusting) the alternating despair and hope of the verse and chorus arrangement made it immediately enjoyable. And with the plodding groove that transcends into that funky “better life” hook at then end makes it one of the stand outs of the whole set.

With a Love Thy Will Be Done rhythm backing it, One Of Us (the Joan Osborne hit from only a few years earlier) has a live feel to it that seems to fuel it with greater sense of hope and faith (listen to the low mix “we’re gonna play this song” intro at 0:12). I once did a compile that mixed Love Thy Will Be Done – One of Us – The Cross that I use to listen to and it had such a sense of reassurance to it.

The Love We Make is a song filled with lament and loss in the same mould of Purple Rain, and just soars. It’s a beautiful heartfelt song written for Wendy’s brother who unfortunately died from a drug overdose (put down the needle put down the spoon).

Refreshing the funk groove of The Sacrifice of Victor, Emancipation lets a free man rejoice. I remember I use to pump this song LOUD feeling the freedom wash over me. All of us have shackles we should be free of and here was a man who had broken his, and was finally “free to do what I want”. I had wanted more of a build or crescendo to the track – why did I expect a gospel choir? – but as it stands it a song befitting the freedom he had worked hard for.

So was emancipation the big success it should have been? No

Was it the album we had all hoped it would be? I think for the most part yes.

Was it to ambitious a product for most people to get into? Most definitely. As I mentioned earlier, and I don’t think I am alone, I felt it was too much music obviously for one session. Which meant that for the most part, you skipped through songs, or listened to one disc or two at a time, which robbed you from the intended experience. I still think it might have been wiser to release the discs individually – one every 4 months – to allow people to fully digest the music and enjoy it. No to mention also allow for a constant build. But I’m not the creator of the music, so ultimately you have to leave that ultimate decision to Prince/. He wanted to make a statement. And with this he showed how when you are given complete artist freedom, some truly wonderful moments can arise.

And if you are reading this line – then thank you – I know it was a mammoth post, but to not give Emancipation the due discussion it deserved would be to rob it of its beauty.

So what do you think?

writie 3-4 Lines,

and say your ideas

it is right, and lovely

to undestand the man behind the beauty

WoW, how times flies, the anniversary for this album is this Friday the 19th, it'll be 14yrs ago to 'that' day it was released. Also, when I started considerin' myself a Hardcore Enthusiast of P's art. [img:$uid]http://l.yimg.com/us.yimg.com/i/mesg/emoticons7/8.gif[/img:$uid]

I've been trying to figure out the meaning of sleep around, is it about justifying female infedility? Or?

The beginning of the end, or the end of the of the glory days, if you like...

despite the nice Musicology/3121 comeback, Emancipation is where the old Prince died for me;

this is the first album that overall I DON'T LIKE...crappy production, filler everywhere, just plain bad ballads and booooooooring dance/funk/electro jams...

of course, anything after Emancipation was worse (until Musicology), so I guess I'll give Emancipation a weak (but solid) C+ , after all...

[Edited 11/17/10 11:57am]

Definately one of his best.

Reminds me a lot of my teenage years (in a good way)!

There are some real classics on there.

I think my fav is Disc 1 (for liveliness - Get Yo Groove On, Damned if I Do, White Mansion) and Disc 2 for romance, some of his most beautiful ballads - One Kiss At A Time, Soul Sanctuary, Dreaming About U.

As to Disc 3 -

'The Love We Make' has to be one of the most moving, heartfelt and touching songs Prince has ever written.

[Edited 11/17/10 12:14pm]

Number23 said:

Fourteen years ago??

yep, time flies! I still remember 1996 and Emancipation, the Spice Girls, the English Patient, Independence Day, etc.

hhhhdmt said:

I've been trying to figure out the meaning of sleep around, is it about justifying female infedility? Or?

I always took Sleep Around as a message to guys to always bring their A game in the bedroom.

"Do it like she like so your baby don't wanna sleep around" - if she isn't getting the goods from you - she may want to go elsewhere to get her fill.

this and for you are my faves

Listening to "Soul Sanctuary" now

been listening to somebody's somebody, this is just a terrefic song

hhhhdmt said:

been listening to somebody's somebody, this is just a terrefic song

If you haven't heard the live studio mix then hunt it down - or hit me up.

really enjoying the remix too- i could listen to this one for hours.

Today's the Day !!!

Happy Emancipation Day !!!

I'm busy re-listening to discs 1 & II as I don't really know them and mostly as always, am discovering tracks that I missed. Soul Santuary and Somebody's somebody are definitely both killer tracks though.