This is about Lovesexy dammit!

All right. You guys asked for it!

9/20/2003

What else can I do with this, my 1,999th post, other than to dedicate it to my favorite album, "1999!" There has been a lot of discussion recently about this album, whether it defines Prince and whether its unique facets are strengths or weaknesses.

This album and I have had a long history. One of the first Prince songs (if not THE first) that I knew was "1999." It quickly became my favorite song of his. I was probably 10 or so by the time that I gained enough interest to sneak money to my brother (TRON) to buy me the tape outside of the wary guise of my mother, who would have had a conniption upon discovering that I owned an album by PRINCE. Soon thereafter, my brother, being the good brother that he is, exposed me to more of Prince's music. Regardless, "1999" remained my favorite to this day, for its quirkiness and its style.

Why do I hold such a dear place in my heart for "1999?" First, it defines me musically more than any other album. Its undeniably sassy and confident funk flows freely through my insatiable ears. Its synth/new wave also suits me well, as that genre is arguably my favorite. Stylistically then, the combination of funk and synth appeals to me greatly.

I also love the album for what it represents. "1999" is one of the most adventurous albums I have heard. Its 11 songs sprawl across many feelings and emotions with a confident swagger. However, as has been mentioned, this album breaks the format of the traditional 3 to 4 minute pop song. As his first double LP, "1999" is furthermore a bold move as it implies that Prince was important enough to merit double the attention of the general audience. Having not had overwhelming success, this is quite a statement. And the music lives up to the pretensions.

Each song on the album is crafted with a keen sense of style and substance. Even the more mainstream songs carry a deeper meaning under the surface. The title track, for example, not only clamors for a gigantic party (and what a funky party at that!), but carries an undertone of an impending sense of doom and the need to be prepared for the worst. "Little Red Corvette" also proved to be commercial fodder, but its message of the triumph of love over lust indicates that this is a Prince who has matured to some degree. "Delirious" continues the car theme present in LRC and explores the effects of the suffocating beauty of a woman.

The format of the album also is quite intriguing. Craftily placing the smash singles at the beginning of the album, "1999" then meanders into deeper, darker, and more experimental territory. "Let's Pretend We're Married" has been described by some as the dirtiest song on a top 10 album. The juxtaposition of the messages of infidelity and obedience to God is just one paradox in an album filled with many. "DMSR" evolved into a sort of motto for Prince. Its line "I don't care to win awards...all I wanna do is dance, play music sex romance..." is exemplary of Prince's attitude at the time. "Automatic" follows with its sonic ecstasy superimposed over dark messages of bondage and torture. Its 9 minutes are a voyage into seemingly uncharted territory.

What follows may be the best track on the album, "Something in the Water (Does Not Compute)." A turbulent drum line opens the song and sets the stage for the uneasiness that follows with the lyrics. Obviously broken-hearted, Prince struggles to find an explanation for the substandard treatment he receives from the women he loves. Cleverly incorporating alliteration in its scheme, lyrically the song is quite impressive. The song, like its composer, seems to be tearing apart at its seams- at once maintaining the turbulent, robotic synths and drums while the emotion beings to overflow with an almost psychotic zest.

"Free" offers a prelude to what would come in Prince's career with the massive anthemic success of "Purple Rain." "Lady Cab Driver" funks like no other and features Prince exorcising the demons of his insecurities while having intercourse with his female chauffer. At once vulnerable and needy, Prince confides his fears and doubts in her, forming a bond consummated by passionate sex. Although undeniably funky, it is only a precursor to what is perhaps the funkiest song of Prince's career- "All the Critics Love U in New York." Exuding great confidence, Prince realizes that he is the "it" artist of the time and takes the opportunity to take a swipe at his critics and admirers alike. The funk effervesces throughout the entire song, wading into experimental territory. It is undeniably singular in its kind and stands out as one of the most memorable moments on not only the album, but of his career.

The album closes with "International Lover," an appropriate ending track to this voyage through the dark realms of electronic funk. Sassy and strident, the song obviously gave Prince a chance to appeal to his fans who found him sexy. Thus concludes what I believe to be a masterpiece.

This album has never ceased to entertain and surprise me. All the tracks have overwhelmed me at some point and continue to duke it out for the lofty spot of my favorite on the album. This album has taught me a lot about music and my own style. I adore it thoroughly.


10/27/2002

I was going to start a thread about this! Happy 20th birthday to a simply stunning album. I've reviewed it several times, so let me simply add my memories of it.

Back in 1990, I had the cassette single of "1999/Little Red Corvette" and fell in love with "1999" instantly. I believe that I knew and loved it before. In any case, my bro got the album around the fall of 1990. I remember hearing "DMSR," "Delirious" and "Let's Pretend We're Married" back then and being unable to resist. "Delirious" and "DMSR" in particular caught my attention, so I saved up my allowance for about a month so that I could afford the album.

My mom, however, was fairly protective of me and I knew that she wouldn't approve of me purchasing the album. Therefore, I clandestinely gave my brother the money to buy the album for me. After that album, I was sold on Prince. "Around the World in a Day" and "Diamonds and Pearls" followed next, and I was a goner.

Thanks to "1999," I am not only a Prince fan, but a music fan as well. Surely, I was majorly into music in 1989/1990 (I would keep a record the top 20 videos of the week ever week from MTV), but my interest lay principally in songs, not albums. At the time I bought "1999," I probably had 30 cassette singles and one full album. "1999" opened the gates for me to not only understand the cohesion and integrity of a full album, but to also understand the growth, development and "voice" of an artist. Prince became the first artist in whom I had full interest as a musician- he wasn't simply an act who released a few songs that I liked.

Other great memories include giving copies of the "1999" cassette away with my brother to drive thru cashiers. My brother and I always have multiple copies of the tape- I know that in my case, I simply can't pass up buying the tape used for $4. I guess it just was my way of paying homage to an album that means so much to me.

1/22/2003

Here is my explanation for 1999.

There is no point arguing why 1999 is my favorite album as taste is entirely suggestive. This is going to be more of a reflection of why I think it is THE greatest album ever.

"1999" was incredibly relevant at the time and its messages loom large today as well. In 1982, the world was in a mess. AIDS was festering in Africa. The Soviet Union and the USA were entrenched in the frigid Cold War. The tension in the Middle East was augmented. The world's economy experienced an enormous crash, rendering several countries in South America and Africa paupers in the world market (many of which have not recovered). Who wasn't worried about the troubled times? "1999" tunes in perfectly to those fears. The title track is a viciously funky premonition of not only the current state of affairs, but things to come. Prince really tapped into his view of the future with this album. The foreboding messages of the title track are echoed in future classics like "Let's Go Crazy" and "Crystal Ball," but none are as timely or as timeless as "1999," which is funny as "1999" is tied to a specific date.

"1999" also reigns supreme due to its paradoxes. Whether it be Prince clamoring, "I'm in love with God, he's the only way" in juxtaposition with "I sincerely want to fuck the taste out of your mouth" in "Let's Pretend We're Married," the dedication of a sexual thrust to "love without sex" in the midst of the passion of "Lady Cab Driver" or the sonic paradox of "Something in the Water (Does Not Compute)," a song literally being torn apart by the opposing forces of order in the form of the computerized synth and turbulence in the passion of Prince's guttural screams and the beat which is systematically chaotic, Prince was clearly functioning on a new level with this album, not just personally, but in music as a whole. Nothing previous to this had been as irreverent as "Let's Pretend We're Married," only to turn a complete 180 and declare love of God. Nothing prior to this had seen a song effortlessly blend the primitive outburst of screaming and the forward-looking sound of "Something in the Water (Does Not Compute)." What was this guy thinking?

"1999" also earns the award because it breaks so many formats. The smash singles are all placed at the beginning of the album, after which it meanders into much darker, experimental territory. The outburst of raging, swaggering funk in "Let's Pretend We're Married," "DMSR," "Automatic," "Lady Cab Driver" and "All the Critics Love U in New York" are stunning not because they are so drawn out (all but "All the Critics" are over 7 minutes in length), but because they still seem concise. Not a beat was misused, not a measure was misplaced. Speaking of "All the Critics Love U in New York," this song stands out not only as the most experimental song in Prince's career, but among the most experimental music of the modern era. Supremely funky, Prince turns a swipe at critics and hippies alike into a nasty, frenetic, rhythmic explosion over seemingly disinterested, lazy half-rapping.

"1999" has a distinct sound. The entire album is tied together by a common sound, with instantly recognizable beats, synths and attitude. Despite this bond, the songs are easily distinguishable from each other. Regardless, no song on "1999" can be mistaken for being on any other album. I believe that albums work best that stretch the palate of one sound as far as it can go. "1999" is arguably Prince's most minimalist work, employing few instruments in the mix, yet it propagates a dense fog of funk that sounds both sparse and forebodingly full. Prince pushed himself to his creative limit with this album and the outtakes most associated with it. Prince incorporates inexplicable gurgling sounds, elephant noises, soldier footsteps and city noises into the mix and they perfectly fit the scheme of the music, sounding as if they were recorded for the sole purpose of inclusion on this album. Other albums also are deeply rooted with a single sound, but none, with perhaps the exception of David Bowie's "Low," Prince's "Lovesexy" and Bjork's "Vespertine," involve as much creativity. "1999" is a black beacon of foreboding funk.

"1999" also rules the rest because it was recorded by an incredibly gifted artist on the brink of superstardom. This was the LAST music Prince recorded before becoming a bonafide mega-star. It exhibits all of the hunger, drive and determination of the first four releases, but it adds a confident swagger and a new maturity as well. This was Prince's rite of passage into manhood. Prince KNEW this music was legendary and stood out on its own. It didn't need any gimmicks- it didn't need Prince to grace the cover in some provocative pose. The music spoke for itself. Anything recorded after "1999" was created by someone who was already a household name. "1999" came from a relative unknown, making it all the more surprising.

Lastly, "1999" is so stunning because it is entirely the work of one man. Certainly, studio engineers were involved in the mix. Prince even includes "the Revolution" for the first time on this album. However, Dez Dickerson's influence is nowhere on this record. It's not Matt Fink's vision. This album is 100% Prince himself. Not only does Prince unveil all of his cards in this release, he turns them over in your face, making them impossible to ignore. This album is the culmination of his genius, the pinnacle of an artist whose talent is unrivaled by anyone of the modern era.

I rest my case.

10/27/2003

Happy 21st, 1999! Let me buy you a drink! I owe you one for all that you've done for me!

1999 and I have aged very well together. It was my first Prince album, my first succulent taste of the vibrant and diverse world that is music. I still remember sneaking my brother money to buy me the tape- my Mom would not have approved its presence in her house.

1999 is my blood. That album has taken me everywhere since I was about 10 and it continues to grow on me and I continue to grow with it today. "Something in the Water" has been my lifeline many, many times and "1999," "DMSR," "Delirious," "Automatic," "Lady Cab Driver" and "All the Critics Love U in New York," among others have planted themselves as my roots.

I was just a young, nerdy white kid with lots of passion and bouncing off the wall with endless interests when 1999 entered my consciousness. This will sound cheesy, but for every night I spent upset about being an outcast, being called too skinny, too smart, too effeminate, too nice, too intense and too colorful, for every vote I got for homecoming queen, for the endless jibes I got as a consequence of being me, I needed solace. I found it in 1999. Imagine, a 5'3" ethnic mutt who had gone through everything I had became my champion with this album. That bitterness and anger that echoes in "Lady Cab Driver" was my own as well and to hear someone express it as he did throughout the entire album, coming from his background, and delivering it with a sound that filtered through every fiber and taught me a new way to feel and think, I knew that this album was special. My own yearning to be more than a doormat was echoed in several of the songs, whether it be in the lyrics ("Something in the Water," "Lady Cab Driver," "Let's Pretend We're Married") or the "I'll show you who's a badass now" sonic explosion ("DMSR," "Automatic," "All the Critics Love U in New York," "1999"). A lot of this didn't dawn on me until many years after I first heard it, but my lifelong struggle is voiced perfectly with this album, and as such, it takes on a much deeper impact than would appear on the surface.

Maybe that's why I often buy additional copies of the album even when they aren't needed, or I give it away through the drive thru to cashiers who show interest. Maybe it's because 1999 has become my story too, and I want people to know it. Maybe it's because I want others who feel the same way to have an outlet as well.

One thing is for sure: when that nice remaster finally sees the light of day, it will be like having my life flash before my eyes through a new, much more intensely focused lens. I take pity on the person who has to hear me listen to it all tearful and reflective.

So hats off to you, 1999, my familiar friend and staunch ally. I will defend you to the death as you have done for me! Call me a fam if you wish, but this album just transcends me.

I got your back whenever, wherever.

TRON said:

I was going to bust out the Lovesexy post too, but I can't find it. It's on "Anji's Greatest Hits of the Music and More" thread.

Moonbeam said:

I busted out my Lovesexy contribution from the Hall of Fame Thread. Didn't you read it

SupaFunkyOrgangrinderSexy said:

I did. I also got a mention there, though, and I was going to post it here as well. What's the thread URL?

This is about Lovesexy dammit!

TRON said:

hey, 1999 needs love too!

TRON said:

I was going to bust out the Lovesexy post too, but I can't find it. It's on "Anji's Greatest Hits of the Music and More" thread.

Okay you guys. Stop it, I'm breakin' up here.

1999 is my heart, my soul and was one of happiest and hellified times of my life. 1999 pulled be back to reality when nothing and no one else could.

I'd sit with those big headphones on(I know some of you don't even remember those) blasting Something in the Water, because I couldn't scream and if I did, no one would have cared.

Even now, in times of great pain, I turn 1999.

Don't get me wrong I LoveSexy is in my top 10 and I love it. I cried like a total bitch when Prince sang Anna during the ONA tours, but the screams of pure unadulterated anguish in Something . . . Lovesexy can't compete with that.

Something in the Water, Free, Let's Pretend, though not the most loving songs of the album were/are my life.

And how many of you still own or listen to the Black Album?

I am amazed to see so many people list Lovesexy in their favourites along with Black.

How many times does he have to ask you not to buy it, explain his reasons why and how many of you still buy the black album, still buy bootlegs? You all say how special Lovesexy was and how it changed you. (apologies to those that don't but I am speaking the majority here)

I think I will leave it up to the man himself to explain his feelings on this.

Take my coffee, but don't U touch my cream
Make me holler, make me scream
Your Sister ugly, that's the truth
She pees in the backyard, sleep on the roof
Take this beat, U know U need it
I give U a white dove, why'nt U feed it?
I gave U sweet love, U put it in the corner
Gave U candy, U say U don't want it
Take this beat, I don't mind
I got plenty others and they so fine


Take my coffee, but don't U touch my cream
What is coffee with no milk/cream?


All of this written before the tour commenced and the story was not only sung but played out on the stage. But still people wouldn't listen.

"I wanna know who’s with me tonight? If U’re not with me I wish U’d get out, I wish U’d get out!"

“If I could just get one person to understand”

These were quotes during the tour.
[This message was edited Wed Nov 5 20:19:59 PST 2003 by 67TBirdHeartAttack]

67TBirdHeartAttack said:

Own it - yes. Only listened to it once through despite purchasing about 5 years ago - am I still bad?

I never thought I would type these words, but nice post rdhull (my fingers are burning just a little).

I am one of the Lovesexy faithful. The Lovesexy album and tour taught me that it was okay to love God without all the guilt that being raised Catholic put on me. I can truly say that album changed my life. I was 16 years old and could have gone in many different directions at that time but this album came into my life. I was very unhappy and lost and trying to understand why I was chosen to be homosexual. I actually had suicide cross my mind briefly and then this wonderful album came out. I listened to the words and listened to the passion in Prince's voice and how LOST he was and how God can't help you if you don't ask for it. So I started asking, and I started to see how blessed I am and how much God loves me. And then being front row center for the concert and feeling like I'm on a cloud with Prince during Anna Stesia as the steam poured from the stage and as he rose towards Heaven singing Love is God, God is Love I had tears running down my face. And then Prince spoke from the darkness, "God is Alive, he's inside you, he just wants to come out and play." And then seeing the transition to the second half of the show with No and Lovesexy and The Cross I learned what it felt like to say God and smile, not feel guilt or unworthy. And anyone who has heard the Lovesexy album or seen the show knows that Prince meant every word he was singing. I will always love Prince for sharing Lovesexy with us and just like he said it would happen, my OWN Lovesexy was born.

And the same can be said for my "marriage" to the Revolution, but that's a whole different story.