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PrintableI'm absolutely not one of those loving every Prince album there is. However this album is absolutely an enjoyable listen all the way through, even though not every song is super strong alone, in context they sound great. Prince did something he hasn't done in ages, crafting a whole sounding album, and quality that is. It's a very polished and bubble gum sounding album in a way, but very sweet and entertaing at the same time. I truly enjoy it! I even love the intro. It's fun and full of color. My Soundcloud: https://soundcloud.com/tundrah | |
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I'm going to put a song review up here. I've shared this review on other fb prince group pages and a friend has suggested I post here too. After listening to Prince’s music for over thirty years, I’ve never felt compelled to review his material publicly before. However, I think on this occasion, owing to the significance of this song, you may forgive me if I go astray...
If you're curious and don't mind fan reviews, then here’s my view of a song that I feel moves beyond the simple narrative and chord progressions of some song-writing into something quite extraordinary.
I think the song, ‘Time’, the last full song on the album, could well be the most musically reflective song Prince has ever crafted using his own musical source material. It’s a song that is produced, arranged, composed and performed out of a seam of musicality that defines the legacy of a man who has inspired generations, thrilled and frustrated millions in equal measure whilst, all the time, living and breathing his craft beyond any other considerations in his life.
So to my review:
‘Time’ has a final resting place on an album that is preoccupied with ‘adjustment periods’, ‘affirmations’ and ‘enlightenment’. For me, this placement is significant. For me, this song reflects on a life’s work and musicality. From the start, the song uses a phone and deep vocal. Classic Prince devices to show narrative and storytelling. Then comes the drum pattern and initial spacey keys. We’re back in 1983. The drum is quickly enhanced by a live drum kit picking up the beat whilst someone lights a match/cigerette (another image from the Prince canon). The spacey chords continue until the drum beats expand into something Michael B would throwdown circa Diamonds and Pearls. Get out the headphones and listen to that kick drum once the verse starts. It’s immense.
The keys continue to expand too. Like the universe and the Big Bang. Flourishes of harp strings flash across the soundscape like an Aurora Borealis. The lyric here becomes significant. Andy Allo sings of running out of lies and alibies. Prince is confessional. He’s reflecting big time.
The keys grow and the beat circles around and around. We could be in Linn territory here. Lisa Coleman could well be serving up her “spacey chords”. Emancipation harps are unbothered by chaos swirling around outside and the drum smashes Gett Off big beats. It’s all there, listen.
Then there’s a bass. It comes in, Face Down, and adds a texture and tone that sits right on the top of the mix. When Prince gets his bass out, he’s really feeling it. We all know this. The vocal around ‘animal cages’ suddenly sounds like Mad Sex and we’re referencing New Power Soul. He keeps this groove going. Remember this guy jams a single groove all night. He’s there. Suddenly the synths start to sprinkle a little and the bass climbs and climbs. Something is coming..
The next part of the song, at 6:05 mins in, is why Prince is a musical genius. It’s why Prince will live and die his music. Its inclusion here reminds us of the stop-start inventive playfulness of Alphabet Street, the dirty pause of Batmans ‘Keep Bustin’, the subtle moans on When Doves Cry buried deep in the mix at the second verse.
Prince stops the song and groans.
A groan isn’t a fair representation. He uses his voice to convey loneliness, lust, vulnerability and musicology within a few simple yet highly sophisticated breaths. It’s a moment within the song that is like seeing Picasso’s thumbprint on a painting, or Shakespeare’s notes to himself on, as yet, unseen manuscripts. At this point in the song, Prince is saying this is it. This is me. This is what I am and no more. At this point Prince will never be beaten. He Is Music.
The song then melts away into familiar Minneapolis synth horn refrains and pretty guitar and we realise that this last song on the album has taken us through his entire career and we didn’t even see it coming. [Edited 9/29/14 1:07am] "If u take this shit seriously, ur a bigger fool than I am" | |
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As far as I know, this is the first time Prince has used an outside produces, has it not? I LOVE the production... Does anyone know just how much of the production is Josh's and how much is Prince's..??? | |
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I dont think Josh is all over it. I reckon he was involved in AOC, U Know and FNR. |
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quote from this new interview with prince:
Joshua Welton, a young producer who is married to drummer Hanna Ford Welton of 3RDEYEGIRL (Donna Grantis and Ida Nielsen round out the trio), is one of the fresh new talents Prince marvels at; he refers to him as a "Steve Jobs" and marvels not only at his musical might, but his spiritual strength. His faith in Welton is so strong that he shares productions with him on the album, and says for the first time, there are tracks where Prince doesn't even play an instrument, leaving it to Welton. . "Who would have predicted that I would let a 22, 23-year-old produce me?" says Prince (though he's actually 24). "He's super talented." . that sure sounds like he did a lot more than just those 3 tracks. which is what i thought already. imo, the entire music on "way back home" and the affirmations is Josh with his computer. . source:
http://abcnews.go.com/Entertainment/wireStory/ap-exclusive-prince-exalts-heaven-25828394?page=2 and true love lives on lollipops and crisps | |
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Interesting. So it could actually be a Prince & Josh album with PE being a Prince and 3EG album. Anyway, if this is the result, Im not complaining. |
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I believe AOA has the credit : Produced, composed, arranged and performed by Prince and Joshua Welton. RIP  | |
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I didnt realise he had that credit, just thought he had some production credit. Its good news and bodes well for the future hopefully. Prince will still want to do his I-did-everything-on-this-album albums, but if he is more sharing every now and then, all the better I reckon. |
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Time to rate the songs on AOA for me. Remembering I gave PLE EL a score of B+ (76%).
Art Official cage - Just love it - 9/10 Clouds - The bomb - 9/10 Very catchy Breakdown - still a sexy ballad 9/10 The Gold Standard - My jam, can not stop playing it, a true 80s mind trip - 10/10 U know - I still like it, but not as much as the others - 7/10 Breakfast can wait - A sexy song, but starting to get overplayed - 8/10 This could be us - This thing has gone to the top, I love its the 1980s Prince reincarnated - where has Jehovah gone, He says in the song "Sex with me" and something else about doing it, wow like the first time since 1998!!!. Plus its funky as hell - 10/10 What it feels like - Wow more sex and rock. I am loving this album, its the Controversy of the 2010s - 9/10 Affirmation I and II - Rating this would bring the mark down, its not too bad, talking, but it is cool - 7/10 Way back home, love the hook and the singing, a great track - 9/10 Funk n roll - I love this too and the PLE version, he puts a more electronic spin on it and a great dance mix, Prince please 12 inch mix this shit!!!! - 9/10 Time - More brilliance, he is lumping the cream on here. Cool laid back beat and sexy vocals. (Another dirty hotel room?) - 9/10 Affirmation III Better than other affirmations, something supernatural about it that I love -8/10 Overall 113/130 = 87/100 (A) - This is the sexiest shit he has made in years. PLECTRUM ELECTRUM IS GOOD ROCK, but this is some sexy ass funk, electronica, creamy vocals and creamier lyrics. I just love it. The message I get is that Prince needs some sex in his life and I am sure Jehovah is loosening his influence, he has not thanked him since 2007 on album sleeves? . Best since Gold Experience, by a long shot and 10% higher than 3121. Classic 2010's Prince channeling a 1980s Prince and mining his genius. . Best 10 Albums now with this in it
1. Sign o the Times 2. 1999 3. Parade 4. Dirty Mind 5. Purple Rain 6. The Gold Experience 7. Art Official Age 8. Lovesexy 9. Controversy 10. Around the World in a day
omnithanos, make me the 2nd to put it in my Prince Top 10 albums
Got some kind of love for you, and I don't even know your name | |
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I've now finally heard the album and after only one listen I think it could well be his best album since Lovesexy. I think it's impact on me would have been even stronger if I was listening to all the songs for the first time. | |
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Thanks..!
I'm in doubt whether I like this though... I LOVE the music, the album as a whole and the production... But the idea that it wasn't really Prince who created these sonic landscapes kinda bugs me... Just like it did when I learned Fallinlove2nite wasn't Prince's production either... I guess I should get over this and just enjoy the album..! There is a LOT to enjoy..!!! | |
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How dare you call AOA "bland", you being from the dark side?
(Just kidding! Your reaction is exactly what was expected of you.) | |
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Its time we all embraced the new collaborative Prince. |
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Long may it continue!
I'm very doubtful about the journalist's understanding. Prince has probably left the full prod on some tracks to Joshua and there are segments where he must play the keyboards and stuff but certainly not the wole thingy. | |
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Some more reviews: -twenty4-seven (uk)
There are several songs that will be considered new "classics". Some of the arrangements are highly unorthodox and adventurous. -Uptown
I loved it only let down was first song on the album. -millwall
Yep, I still like it a whole lot. It's his best work of the '90s, and some of these songs are real keepers, He's back, baby, and he is pretty. -inkblot
Most of the songs are really good to excellent, with TGRES, Man O' War and Prettyman being the gems of this album -se7en
Oh wait, these reviews are for Rave un2 upon release. Seems like we're saying the exact same thing now: instant classic, innovative, excitingly new. [Edited 9/29/14 3:22am] | |
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The vast majority of Rave's reviews were really bad back then. I mean really bad. You will always find some positive reviews for any release even the worst ones. Look at Springsteen he can release a tune of him farting Rolling Stone mag will give him a 5 star review. | |
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Most first reviews on the org are extremely positive. Especially those before the release date. I'm trying to say that AOA is no different. The same people ranking it alongside purple rain right now might have forgotten about the album in two months... | |
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I dont think anybody is really comparing it to purple rain etc, its just his most enjoyable record for some time. and some people are getting a little excited. I do think personally that it is a genuinely a good /great album , even after a few listens. You can find and pick up more details about it the more you listen to it. A solid 7 to 8 from me so far. |
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It is BLAND and I'm not the one that disappoints. I knew from the start that I loved you with all my heart. | |
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Surely this is in reference to 'U Know' and the AOA version of 'Funknroll'? Hundalasiliah! |
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yes, IT IS bland
blander than Emancipation CD2 with the production of Planet Earth, that's how bland AOA is...
the way some folks are OVERRATING this album is insane  | |
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Using the word BLAND when talking about Prince music just seems like sacrilege to me but I don't know how else to honestly describe AOA. Oh well, there will be much overrating this week but no worries, it'll be a forgotten memory by Halloween and hopefully we can get on with the remasters. I knew from the start that I loved you with all my heart. | |
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Agreed. I consider his best since Lovesexy too. | |
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PLECTRUMELECTRUM is a solid album with definite highlights but AOA is, in my estimation, a new Prince classic. The second half totally slayed me. I was moved in a way I haven't been in a long time. 'Way Back Home' is one of the best things Prince has ever done.
This moves forward, while looking back and drawing on the very best of what's gone before. My favourite Prince album since Lovesexy. | |
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After a few days of listening, got to agree with this. It really is that good. | |
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yep, so Prince can FINALLY become a veteran artist: glorious past + remasters + so-so new albums | |
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Not dead, not in prison, still funkin'... |
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Album review in Swedish:
http://www.hittaframat.se/?page_id=148
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LA Times Review: . http://www.latimes.com/entertainment/la-et-ms-prince-review-20140929-column.html . Never let it be said that Prince doesn't retain the capacity to both dazzle and baffle. Through 36 years in the spotlight and one of the most influential of his generation, the man born Prince Rogers Nelson still pushes like he's gunning for fresh fame and acclaim. . With each effort, a consistent flow of art since his 1978 debut, "For You," the 56-year-old seems intent not just on challenging his muse but also on silencing the critics, feeding his public and reminding his musical offspring that he's still here, that he's still Prince and that when he commits his sharpened mind and dexterous digits, he can mess you up, make you shake your head in disbelief. Further evidence of his derring-do permeates his two new and distinctively varied albums, "Art Official Age" and "PlectrumElectrum." Releasing simultaneously Tuesday, the dueling records are a homecoming with a label, Warner Bros., that ferried Prince to worldwide fame but that he later implied owned him as a slave. Combined, the albums reveal a muse blissfully free of constraints. At their best, songs suggest an explorer freshly refueled by the Mothership and eager to roam. . Tracks burst with aural delight while honoring their creator's noble weirdness — at one point during his rant against cloud computing, "Clouds," Prince zips 45 years into the future after a period of suspended animation — and sense of humor. For example, this "Tic Tac Toe" refrain: "Like a bunch of blind people playing tic tac toe / Who knows where the zeros and the Xs go?" . But the records also reveal his flaws: Prince errs on the side of bounty, is blind to the occasional clunker and still fancies himself a talent scout when he has his pick of could-be collaborators. . The full-lengths are at odds thematically and sonically: "Art Official Age" flows with synthetic beats, fake hand claps, futuristic bleeps, chipmunk-style vocals, rap, modernist R&B and a brand of digital seduction that Prince does better than anyone. The other, "PlectrumElectrum," rocks hard and with great distortion, and it seems a kind of negation of "Art Official Age." At various times, "Plectrum" sounds like a response to the work of the Black Keys, Jimi Hendrix and Gary Clark Jr. Both albums share a song, "Funk n Roll," which Prince performs two ways. Though the rock record has its moments and is ferociously played, its songs are relatively flat. If you're looking for a freaky good time, "Art Official" is your ticket. .
Doubt Prince can still bring it? Cue up that album's "Breakdown," your new favorite sad Prince-wails-like-he's-losing-it ballad, replete with laser-gun sounds. I can already imagine actor-comedian Maya Rudolph mimicking Prince's stutter-phrased, falsetto-peaked line, "waking up in places that you would never believe." The not-so-coy seduction of "Breakfast Can Wait" is a musical riff on the funny story that aired on "Chappelle's Show" involving Prince, sibling comedians Charlie and Eddie Murphy, entourages, late-night basketball and early-morning pancakes. . If your response to the first minute of "Art Official Cage," the opening track on "Art Official Age," is slack-jawed disbelief, you're not alone. Prince introduces the album with a 129 beats-per-minute disco-house thumper. Exactly one minute in, the now-cliched sample of a blaring air horn arrives out of the blue, like a party-starting Diplo has just burst into the studio for an ecstatically dumb cameo. . The future-freakiness of that jam moves like a compact, electro-botic Prince version of "Bohemian Rhapsody," with oddball U-turns, a synthetic bass-drop, a guitar solo, Prince vocoder, the sound of our hero being water-boarded (!), a string quartet and mini-movements that spin into double- and triple-time blasts. It's a glorious mess, all in a song that clocks in at less than four minutes. . Other revelations? "The Gold Standard" proves Prince can nail a hard, synthetic funk jam better than inheritors Robin Thicke and Justin Timberlake and as powerfully as at any time in a career of classic groovers like "Kiss," "Housequake," "1999" and "Life O' the Party." His glistening cry can drench a ballad with juiciness. "U Know" is as curiously modern as similar efforts by upstarts like Miguel, the Weeknd or Frank Ocean. . The rest of that record is shockingly heavy, sonically sophisticated and filled with enough musical loop-to-loops as anyone has a right to expect from Prince, each eight measures a new epiphany. The aforementioned "Breakdown" is as searing a love letter as anything he's done since he split with Warner Bros. in the mid-'90s. It's an instant classic Prince ballad. . "PlectrumElectrum," though, illustrates that Prince isn't as gifted an editor of his rock work. It stars his new outfit 3rdEyeGirl (Prince, Hannah Ford Welton, Ida Nielsen, Donna Grantis). As a backing band, they're unimpeachable, as Prince himself sings on "Fix Ur Life Up": "A girl with a guitar is 12 times better than another crazy band of boys." . He and band move through riffs, guitar solos and drum fills with a compact tightness that shouldn't surprise; Prince is a legendary taskmaster. The problem, though, is that half the songs, most obviously "White Caps," don't pop, don't scream for replay and should have landed on the cutting-room floor. In fact, of the dozen rock tracks, only the middle third keeps a consistent roll and could be arguably included on a Peak Prince mixtape. . It's tough to criticize Prince for offering such a welcome bounty, even if some of it's so-so. After all, who among the '80s superstars remains as relevant? U2? Madonna? Bruce Springsteen? I'll take the flawed, weird Prince rock of "PlectrumElectrum" over a conservatively bland U2 or Springsteen album any day. And I'll take an exquisite Prince R&B album like "Art Official Age" over pretty much anything else released this year.
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