One of the UK top music websites, and publisher of the official UK charts (although recent changes means that it is now part of Yahoo's Launch) has given Musicology a fairly ecstatic review, although it still follows the well-worn path of "after all those noodling jams of the last few years, he's finally written some songs". Which is as uninformed as it gets.

Prince - 'Musicology'
(Friday May 7, 2004 4:10 PM )

Released on 19/04/04
Label: NPG / Columbia
9 out of 10

Being a Prince fan is a thankless task. Second, perhaps, only to waiting for the return of Jesus himself, waiting for the greatest pop innovator of a generation to remember how to write a decent song is a true test of faith and devotion. Lest we forget, it’s now over a decade since he changed his name to a squiggle and misplaced his genius - along with his ability to distinguish a verse from a chorus and sexual tension from aimless self-gratification.

Since then there have been glimmers of hope (the evangelical title track of 1999’s “Rave Un2 The Joy Fantastic”) and high-minded concepts (“The Rainbow Children” told religious tales through the unlikely medium of jazz-funk). Mostly though there’s been shapeless, abstract, noodling. Lots of noodling.

All of which made his heel-spinning performance of “Purple Rain” at the 2004 Grammys doubly exciting. Celebrating the song’s 20th anniversary, he finally looked like he was interested in being Prince again.

“Musicology”, the single, further raised hopes that Prince might be back in more than just name. A feel good funk jam, this time with verse and chorus, it had more than a hint of “Sexy MF” about it. And for those desperately seeking a sign, the fadeout’s crackling snippets of “Kiss”, “Sign O’ The Times” and “Red Corvette” were his acknowledgement that a comeback was overdue and imminent.

Thankfully, the rest of “Musicology” confirms the theory. A fat-free, fully functioning erogenous zone, revelling in stretched-tight rhythm tracks and melodies that only he could dream up; it’s like his pop gene’s suddenly kicked back in.

Straight out of the stalls he’s flexing his trademarks. “Illusion, Coma, Pimp & Circumstance” dusts off his skeletal pop brilliance, twitching to one-finger electro funk and a sly, sass laden hook. Squealing to “Life O’ The Party”’s barebones thud he proves it wasn’t a fluke, while “The Marrying Kind” and “If Eye Was The Man In UR Life” wheel out the oversized rock and stride their way - with pomp and camp excess - to equally oversized and elated choruses.

One thing that is missing though is his raging libido. Clearly, at 45 there’s more to Prince’s life than being crude. Musically, he may still have a steady supply of salacious grinds, but lyrically he’s contemplating weightier issues. Suicide bombers, intolerance and the general chaos of the world are recurrent themes, which, as with “Dear Mr. Man”’s attack on government hypocrisy, he navigates with surprising grace and a quiet wisdom that suggests he may not be insane after all.

But it’s love that makes the most of his heightened sensitivity. Eulogising, “I just can’t stop writing songs about you, I love you so much” over “Call My Name”’s 2am piano his conviction’s so overwhelming and sweet that even the most cynical of detractors will surely be moved.

Perhaps it’s too early to call “Musicology” a comeback. Reinvigorated as he is, he’s not exactly chasing chart positions, and it is, after all, just one album. But it’s a phenomenal album. And best of all, it’s unmistakably Prince.

9/10

by Dan Gennoe