did i just have sex with prince?
1999 is the fifth studio album by American recording artist Prince, released on October 27, 1982, by Warner Bros. Records. It became his first album to be recorded with his band the Revolution. 1999's critical and commercial success propelled Prince to a place in the public psyche and marked the beginning of two years of heightened fame via his following releases.1999 was Prince's first top 10 album on the Billboard 200, peaking at number nine, and was fifth in the Billboard Year-End Albums of 1983. "1999", a protest against nuclear proliferation, was a Billboard Hot 100 top 20 hit, peaking at number 12. It has since become one of Prince's most recognizable compositions. "Delirious" reached number eight on the Billboard Hot 100, while "Little Red Corvette" peaked at number six, becoming Prince's highest charting US single at the time. "International Lover" was also nominated for Best Male R&B Vocal Performance at the 26th Grammy Awards, which was Prince's first Grammy Award nomination. 1999 received widespread acclaim from critics, and was seen as Prince's breakthrough album. On March 24, 1999, 1999 was certified quadruple platinum by the Recording Industry Association of America (RIAA). Following Prince's death in 2016, the album re-entered the Billboard 200 and peaked at number seven, besting its original performance on the chart thirty-three years earlier. A re-release and remaster of the album, including 35 previously unreleased recordings, was released in November 2019.1999 has been ranked as one of the greatest albums of all time by several publications and organizations. The music videos for both "1999" and "Little Red Corvette" received heavy rotation on MTV, making Prince one of the first black artists to be in heavy rotation on the television channel. According to the Rolling Stone Album Guide (2004), "1999 may be Prince's most influential album: Its synth-and-drum machine-heavy arrangements codified the Minneapolis sound that loomed over mid-'80s R&B and pop, not to mention the next two decades' worth of electro, house, and techno." It is also included on Rolling Stone's 500 Greatest Albums of All Time. In 2008, the album was inducted into the Grammy Hall of Fame.
did i just have sex with prince?
Prince is one of those artist for me that I feel like I'm obliged to like, but I just dont. I feel like I should be walking around jerking all over the place whilst striking various poses. nope, not for me
Once again, I accidentally deleted a long, well thought out review. š Doesnāt matter. Giving Prince 5 stars.
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The man is indefatigable. My penis was sore just from listening.
Amazing funky perfection. Who else can sing "I honestly want to fuck the taste out of mouth" and still sound credible.
Classic Prince. A couple hits, some good grooves, and a ton of random crap.
i don't quite understand why prince is held in such high regard. the two singles are massive and probably his two biggest, but the rest of this album is like a knock of version of the sonic the hedgehog game soundtrack. i couldn't handle listening to it.
Prince has always been a complete bildspot for me. I know barely any of his songs, despite him being this pint-size, purple, megastar. So, being forced to listen to this album, what have I discovered? Well...it's just a load of generic, cheesy 80s nonsense and has filled my heart with nothing. I'm sure at the time it was this exciting, innovative, sexy behemoth, but I couldn't give a fuck about it. And all of the songs are too long. Hit the editing suite, Prince, you little purple nonce.
Funky, Danceable, Emotional, Sexual, and Rockin'.... 1999 is a innovatively groundbreaking album that truly enlightened me in 1982 when Little Red Corvette hit the radio waves on my Sony Walkman while at church camp! Whether I spin it on vinyl, cd, or digitally, I always hear something new that I didn't catch in the past - a word, a beat, a sound, a breath... The deep cuts like Free, Lady Cab Driver, and International Lover are probably my favs. **Missing Prince's 24 song live set (14 of which were covers) at Chicago's City Winery and hearing him perform 1999 while I was stuck in the country 4 hours away, is one of my biggest regrets, IN LIFE. I got an email he was doing a surprise show at the venue after he played the George Lucas wedding reception in Hyde Park. I clicked to purchase a ticket and got through but couldn't go...but I could and SHOULD have. Of course the tickets sold out in seconds after that. https://www.nbcchicago.com/news/local/prince-performs-at-chicagos-city-winery/1957730/
Banger central, but like, why are all these songs nine minutes long, what the fuck. What was Prince smoking?
I love him but some of these songs are way too long.
Nice beginning but kind of descends into a sex mad frenzy lol
Prince had some good albums before this one with Dirty mind and Controversy, but this album is the first where his genius as a songwriter, multi-instrumentalist, and producer is really put on display for the world. Opening with the back-to-back hits ā1999ā and āLittle Red Corvetteā, the album propels you into his world of funk and sexuality. āLetās pretend weāre marriedā is one of my favorite tracks with its driving synth and descending vocal line melody. āAutomaticā feels like an instrumental even with the repeating vocal line. It also has a great guitar solo around the 8-minute mark. āLady Cab Driverā has another great keyboard lead with a driving funky groove and another classic prince guitar solo. For a double album, listening to 1999 never felt like it was taking forever, or I was waiting for it to end. Itās also an album that totally rewards multiple listens. There is a lot going on here to listen out for.
Might have the best four opening tracks from any album I've listened to so far from this list. Hell, the first two songs alone warrant tagging this thing with a 5. The four opening songs set the mood and flow perfectly into the next one. And then Prince wants to find out who really wants to party. Prince throws the gauntlet down to find out who's down for tantric sex, who's interested in what his idea of an orgy looks like. And even if you come along for the ride only to discover some of it isn't your cup of tea, you'll still end up masturbating in ways you never thought of before. No recording artist understood sex the way Prince did, or at least understood that his audience thought about screwing as much he did. But screwing is the wrong word. It was never just about screwing with Prince. His two previous albums might be better than this one. But Prince understood all that mattered was if the critics loved you in New York.
I just don't get Prince, there I said it.
Dear Prince, The first sign that the woman in āLittle Red Corvetteā was trouble is that she had a pocket full of Trojans, *some of them used* (emphasis mine). What kind of maniac does *that*? Probably shouldāve just called the song āGiant Red Flagā instead.
Some tracks a bit too long but great overall. Gonna party like it is 1999.
3/29 I mean... he did that. Standout Tracks: Little Red Corvette, Let's Pretend We're Married, Automatic, Something In The Water (Does Not Compute), Lady Cab Driver, All The Critics Love U In New York
Exactly what the future sounded like from the perspective of 1982. Technically impressive and ridiculously sexy.
Itās good
1999 This is when he took his funk and disco into the computer age. I love the combination of the synth heavy and robotic computer sound with his soul, funk and pop approach - kind of Kraftwerk + Early Hip Hop + Funkadelic + catchy pop. And what an opening 3 songs on the first side of the original album. 1999 - banger, Little Red Corvette - classic, Delirious - super Letās Pretend Weāre Married has more than a hint of The Visitors by ABBA, and is a great up tempo bit of disco inflected pop. DMSR is very Afrika Bambataa in its drum sound and I love the two synth lines settling into a great hypnotic groove. Automatic has another great groove in a similar vein to whatās gone before. I love the rhythm pattern and descending synth motif on Something in the Water (Does Not Compute), itās a nice change of pace and style and has a pleasing oddness to it. After this fantastic set of 7 electronic funk party songs though, the album does start to run into trouble. It really doesnāt need to be a double and while the following songs arenāt particularly bad they do drag the album out of focus. Freeās more soulful vibe feels a bit strained, and Lady Cab Driver, while having a great guitar groove feels like a not so successful version of the first 4 or 5 songs. All the Critics Love U in New York is good and has a nice Kraftwerk-esque detachedness, but International Lover isnāt great and feels a step too far. If this was a single album ending at Something in the Water, with perhaps the addition of All the Critics it would easily be a 5. The opening 4 songs in particular are superb, a fantastic run of tracks - funky, catchy and with enough oddness and quirkiness to keep you coming back. As a double though it is too long, with the last 4 songs or so noticeably of a lower quality than the first 7. That makes it a 4 šššš Playlist submission: 1999
eh, this is the second Prince album I'm listening to (only listened to Purple Rain before) and they're not even comparable, all he talks about here is sex and sex and sex and sex. Funky grooves all throught but they just got boring to me after a while - 1999 and Little Red Corvette are really good though. I don't think I get Prince tbh. 2.5/5
Sushi, jogging, Beat poetry and the music of Prince - all things I'm told are great but I just can't get into. Was hoping once getting past the title track my eyes would be opened to a side of him I'd been missing, but it didn't happen. I'm sure I'm wrong and will one day see the light. Best Track: Let's Pretend We're Married
Didn't care much for some of the filler songs in the middle album, but there's still enough good stuff on here to merit at least a low 5, so I'll leave it at that.
do you ooh-we-sha-coo-coo-yeah?
So good and fun to dance to i bet, but very repetitive just listening to it by itself
Really impressive opening set of tracks. Unfortunately, the rest of it can't quite keep up. Best track: Little Red Corvette
This sounds like Zumba music for sexually repressed homosexuals of color. It would be perfect background music for a 1980s porno.
Does Prince need an introduction? He is the King of 80's Pop Rock and Synth Funk and pretty much the King of the 80's in general, at least for me. I'm sorry MJ but you don't stand a chance against Purple Rain. But this isn't Purple Rain, so let's get back to talk about 1999. Prince's first double album and easily his most conceptual work yet. It's full of dancy Pop Rock and groovy Synth Funk with many very forward thinking moments and a few Experimental bits sprinkled throughout. It was at that point in his career his best album only surpassed by a handfull later on. It's just such an incredible album that does not feel like it goes on for 70 minutes with some songs being nearly 10 minutes long. It's just THAT good. The title track '1999' gets the album started with a slightly creepy spoken intro but quickly turns into a mix of Funk, Synthpop and Disco. It's full of incredible production, great vocal performances by both Prince and the background singers and it's just so fun to listen to with so many energetic moments. It's a perfect opening song and a perfect song in general. Hard to get much better than this. This is how you do 80's Dance-Pop! Second song 'Little Red Corvette' goes more R&B and even a little Pop Rock while keeping a lot of the sonic styles the first song introduced. The build up into the chorus is fast and makes the verses absolutely worth it. It's such a beautiful song with so many dynamic changes and energetic moments. His weird and crazy vocals towards the end are incredible and the details are overall done in very thoughtful way. It's another simply perfect song and one of the albums biggest highlights. 'Delirious' sounds pretty silly at the start but the Rockabilly influence in the delivery is just incredible. I am genuinely amazed by how he came up with that, this is literally the 50's but int the most 80's way possible. And the song is just full on amazing and stays as interesting towards the end as it did at the start. The synths are so cute, the vocals amazing and the lyrics are quite fun. This whole song is fun. I absolutely love it... Perfect song again. The much more Electronic 'Let's Pretend We're Married' brings in some moments from the Hi-NRG genre which was popular in the gay bars of San Francisco and New York in the early 80's and even if Prince was strictly heterosexual, the mix works quite well as this song is another incredible song even if it takes a bit to get started but that can be excused when THIS is what it turns into. Full of great moments, production, performances and what else there is to mention. Just a pretty much perfect song, again! It's just so much fun. 'D.M.S.R.' gets really funky with a very thick bass line and a very great vibe to it and it's even groovier than most of the stuff that was featured so far. The vocals are absolutely incredible with how they are layered and echoed. I just absolutely love this song from front to back. The instrumental parts that mainly put the synths in the forefront are just perfect with the few but effective melodic changes. The second half of the album is opened with 'Automatic', the albums longest song running in at nearly 10 minutes. The synths are really carrying this even if Prince is still killing it with his performance and the songwriting. It is a beautiful song through and through and even with the sheer length that this offers, it is really diverse with the sound and structure. I do think that a couple of moments feel a little bit streched but not that it harms the song too much, it is still incredible. The very New Wave sounding 'Something in the Water (Does Not Compute)' is weirly ethereal and even slightly Industrial while keeping the very clear Art Pop tendency throughout very present. The performance is again killer and Prince really perfects himself in some of the weird ways he is using his vocals to shine. I really love this song for the atmosphere but it just doesn't feel like it was completely thought through and perfected. It is a really great song but a couple moments desire for the song to build more into a final climax rather than just ending slowly. Still, a great song. The very strong and present Soul on 'Free' is something sonically completely different but of course Prince also makes an incredible song like this. The quieter backing vocals with his very "aching" voice adds a lot of emotional weight to the track which makes it one of the albums most dense tracks in terms of emotional depth but it also very much stands out with all the dancy and energetic tracks which does harm the song. If it was released as a single but was omitted from the album, the track would flourish in another light but here it just feels a little bit off. Or as a break after all the dancing but still... It is a great song but that's it. Luckily Prince follows it up with the very fitting and dancy 'Lady Cab Driver' which is very funky and I absolutely love the bass on this track. It is a little more Disco and Boogie but groovy. It's a really great song that feels very similar to something you'd maybe find MJ doing on previous records but I don't feel like it needed to be nearly 9 minutes. I know Prince wanted to go all out with this album and it definitely is his best yet but with songs like this I think he should've cut it a little bit. The bridge is nice but goes on for a little too long. 6 to 7 minutes would've done it more justice even if the guitar towards the end really uplifts the song as a whole, it's "just" a great song. 'All the Critics Love U in New York' is another really dancy, Hi-NRG inspired Disco song with some really well made moments especially in the chorus but it feels a little bit bland in comparison with some of the verses and instrumental parts but the strong moments make up for the slightly more average moments to make this at least a really good song but it is one of the albums weakest songs. The Smooth Soul closing track of 'International Lover' is a beautiful end to the album with a lot of R&B sprinkled into the vocals. It's a great closing track and a lot better than the other Soul song here and I do think that it's the second best song on the second side of the album but it doesn't stand a chance when compared to some of Side 1. favourites: 1999, Little Red Corvette, D.M.S.R., Delirious, Let's Pretend We're Married least favourites: All the Critics Love U in New York, Free Rating: decent 9 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes
Fantastic!!!
Great album
Wow, Iād forgotten just how good this album is, with the exception of the last few tracks everyone is a total banger. 5/5
One of the best
Pretty perfect mix of rock, funk, and Prince-ness.
Rating: 9/10 Best songs: 1999, Little red corvette, Automatic, Free, Lady cab driver, All the critics love you
Oh man, I really, _really_ miss Prince. This album is amazing.
Excellent listen
I have never listened to a Prince album, just isolated tracks. This album has a bit of everything from funk, jazz, rock, blues, and electronic influences. Prince is a phenomenal musician and guitar player and Iām excited to dig into his discography more
A masterpiece in every way
This is basically pure 80s and I kinda love it.
Near perfect pop album. Bold, sexual, life and love affirming
.Great Album. Strong 80's zeitgeist.
I love Prince
- funky, impactful and diverse - but also coherant? - prince blends into the band, strong composing to hide the musicienship
Absolutely amazing. Quintessential album from the 80s
Smooth like silk
Itās Prince
Pretty much every song can be a banger, each exemplifying the funk that is Prince. Electronic elements, guitar, weird studio effects, and of course the lyrics from Prince himself. All of it lends to a great overall album with wonderful singles in it.
This is an amazing album. I had only heard the singles before but it really shows why Prince was just as amazing as he was.
I hadn't listened to the whole album in maybe 30+ years? It's definitely of an era so it's sound feels a bit dated in parts, but it's really a showcase of what Prince could do when he was just approaching the peak of his fame. There wasn't a lot else like it at the time.
An all timer when it comes to the album-quality vs album art ratio.
grooooooooves. i was surprised at how much i liked even the slower songs.
It's Prince
Great album. Funk. Synths, drum machines. Sample please
Interesting. Strange. Very sexual.
I was lucky enough to see him live in 2016, only a few weeks before he died. One of the best concerts of my life.
I lived this as well as Purple Rain. Fantastic album!
So far ahead of its time. The first musical masterpiece of the digital age? Everything seems to come so naturally to him. Just IMAGINE having this much talent. Scary.
incredible
Ugh, just so good!
The first three tracks are classics, top notch. The rest of the album is more experimental, with Prince showing off his range and boundless talent.
Arrived at this drafting sharp words about the cruise-liner play length, leaving it wondering if Prince listened to much Can and if I prefer "Automatic" to "Sister Ray". I had a lot of fun with this. Opening with two bangers is deceptive, the sleight of hand being that their extended instrumental iterations are representative of the rest, rather than the impeccable tunes themselves. The weakest parts are when drum machine and synth ape rock bands; fortunately, most of the record embraces the beep, the whoosh, the clean flatness of the sounds, and the space in between. The comedy erotic language is delightful, and I've gained a rich insight into the sense of humour of one of our project's voyeurs, as Prince is one of his favourites (Simon, betting you can deduce who).
6/10 I was firmly of the opinion that Prince is overrated. For the first half of this album, I had serious doubts about that belief. But then I listened to the second half and read the Spotify bio, and he definitely is. I enjoyed parts of this album much more than I thought I would and it was a very strong 4 star. However, the longer the album lasted, the further the score dropped ...
Purple Rain set the bar too high for me.
It's good, just very long and not typically what I would listen to
Prince is a genius, but this album was kind of meh to me. The first half was sort of funk-lite. I liked the overtly sexual songs in the second half more. Not a bad album but it felt like a let down since it was prince.
Never got the appeal of Prince but Iāll concede this album has its moments. Thereās some quirky experimentation here, and, even while the sound itself is the most synthetic assault of 80s cheese, I quite like the programmed drums and bass from this period. Especially given its influence on early techno. The issue is that it feels like a collection of 12ā extended mixes that could have been edited down, and it blunts some of the pop hooks by ramming them down your throat for about 3 minutes longer that they should be. On the whole, however, thereās some great funk here, and just about any of these tracks would fill a dance floor without necessarily challenging conventional taste.
Prince is one of those artists where you can see the talent from a mile away. The guy could write, produce, perform, and probably fix your car while shredding a solo. But no matter how many times I try, his music just doesnāt click with me. 1999 has its moments. The title track is fun, and āLittle Red Corvetteā still holds up. But as a whole, it feels like something I respect more than actually enjoy Favorite song: 1999 Least favorite song: Automatic
Much better when Prince focused on being funky, rather than trying to use every preset on the Revolution's fancy new synthesisers. Listen to the 2019 remasters - improvement on the original CD masters in every respect.
No. 183/1001 1999 4/5 Little Red Corvette 4/5 Delirious 3/5 Let's Pretend We're Married 3/5 D.M.S.R. 3/5 Automatic 3/5 Something In The Water 2/5 Free 4/5 Lady Cab Driver 3/5 All The Critics Love U in New York 2/5 International Lover 3/5 Average: 3,09 This was good. I'm just not that big a of synth-heavy pop music.
Not as good as I remembered. Purple rain is THE album
Overall liked it. Didn't know where party like it's 1999 is from. Will I listen to again: 50%
I never knew this was a double album! The first three songs of course are fire! What a way to start (and of course turned out to be the hit singles). From there it seemed like it was extended electronic funk jam filler for me. Had problems listening to the rest of it in one sitting after the first three songs since it seemed to peak too soon and steadily lost interest in the rest of the album. Not horrible but not great either.
I'm a bit of a Prince philistine; strongly on the Greatest Hits side of the equation (the only Prince album I have ever owned is the Batman soundtrack, which I will defend to the death). 1999 is quite fun, and helped define the sound of the era early on, but you likely get everything you need from Little Red Corvette. It's basically too long (started out as a 4* and lost a point on repeated listens)
Listening to Prince's '1999' is like being invited to a wildly eccentric party thrown by a musical mad scientist. Released in 1982, this album showcases Prince's experimental genius, blending synths and drum machines to create a sound that's both a product of its time and a glimpse into the future. The albumās use of synths and drum machines, signature elements of the 80s, give it a slightly dated yet charmingly nostalgic feel. You can't help but wonder how these tracks would sound with the sleek polish of modern technology, but there's an undeniable raw energy in this vintage production that's captivating. True to its era, '1999' is a party album at heart, weaving themes of celebration, hedonism, and a hint of existential dread, particularly in the title track. This blend of carefree revelry with deeper musings reflects the spirit of the early 80s, making the album a vivid snapshot of its time. While '1999' predates my own memories, it doesnāt evoke personal nostalgia but rather a curiosity about the era it encapsulates. I can't help but feel that experiencing these songs live, with The Revolution bringing their palpable energy, would add a new layer of vibrancy to an already dynamic album. Prince's '1999' stands out as a testament to his innovative spirit. While it firmly belongs to the era of shoulder pads and neon, it's a fascinating exploration of a musical genius at play. It's a party in a disc, a funky, quirky journey that leaves you intrigued about the past and excited about the magic of live performances
9 minutes par ci, 8 minutes par lĆ ... eh gros sayer
Un album très correct de la part d'un des ambassadeurs de l'androgyne-pop. On n'est néanmoins loin des références du genre que sont David Bowie et les New York Dolls. Prince ne fait pourtant pas le travail à moitié avec 1999 en présentant très clairement certains caractères sexuels du sexe opposé. Assez pour mettre en péril la carrière des cadors précités ? Sûrement pas.
If you turn the volume down and play it while working, 1999 serves as ideal background music. Until now, Iāve typically used Bill Laswellās Aftermathematics for that purposeāa record I consider far more complex and musically sophisticatedābut Iām willing to give this one a chance. All jokes aside, I find it difficult to evaluate 1999 on musical terms because itās so far removed from my personal taste that the gap feels immeasurable. Itās well-suited for a late-night bar, an afterparty, or any situation where music is meant to stay in the background rather than demand attention. I wouldnāt say the 1980s were a musical failureāafter all, we had The Pixies, Talking Heads, and Dire Straitsābut this album feels like a textbook example of the decadeās ambient noise rather than its artistic high points.
Like getting to like Guinness. I like Guinness, I donāt like Prince despite repeated attempts to do so. Iām always left thinking āright, so itās five minutes to the song in and Iām ready for something to happenā.
Definitely better than I remembered, but still weird in an uninteresting way
I have never liked his music but always assumed he had musical talent. This album is very basic 80s electronica, with only the riff in 1999 providing any interest.
Tbh Iām sick of hearing/reading about how talented a musician Prince apparently was. From the intelligence Iāve gathered over the years I understand he could play four, or maybe five, instruments at the same time while underwater, with one hand tied behind his massive ego and while simultaneously impaled on a unicorn. This may or may not be entirely true, but the fact is I canāt stand his vocals and Iāve never liked a single song Iāve ever heard of his. This is like some hellish extended 80s rip off of 70s funk. Iāve produced way funkier things than this album on my morning constitutional.
Princeās music is so bad. I canāt understand why heās considered a legend at all. I donāt get it. I hate it. I absolutely hate his music.
Not my cup of te. Every song sounds like āneutron danceā in my ears
fun, party album - added more songs to my library than I thought I would. It's a classic!
A classic for a reason
Absolute classic
Fantastic album. Little Red Corvette is just plain sexy, and the song that first got me listening to Prince. I have a special fondness for International Lover because it cracks me up.
Not my favorite Prince album but so what.
This was the first album I ever purchased (on cassette) with my own money. I was 9 years old in 1982 and PMRC warning stickers were a few years off in the future. I loved this album so much and listened to it constantly. As I'm listening now, I realize that I still remember nearly all the lyrics, even the really filthy stuff! I probably learned about the birds and bees listening to this one. I remember my family taking a vacation road trip to Florida and I was sitting in the backseat listening to this cassette on my Walkman when mom suggests we put it in the car's deck so we could ALL listen! Um... no thanks mom! I'm kinda tired of listening to it now. š Over the years I became more of a metalhead and later even a hardcore punk fan. But I've always remained a huge fan of Prince, even though I don't listen to his music all that much anymore. I still believe this is a brilliant, if not a bit foul, album from one of the greatest artists in modern music. Prince is deeply missed. 4.5/5 #94
Not really my thing but can't deny the quality, variety and talent
Probably my fav Prince...banging title track and the 1-2-3-4 whammy of Delirious through Automatic is one I often jump to for a fix. Drops off a little after that, but on top of his game here overall with 80s synths that haven't aged a bit.
## In-Depth Review of *1999* by Prince Princeās *1999*, released in 1982, stands as a landmark double album that not only defined the Minneapolis sound but also helped shape the direction of pop, funk, and electronic music for decades to come. This review examines the albumās lyrics, music, production, themes, and influence, and concludes with a balanced assessment of its strengths and weaknesses. --- **Lyrics** Princeās songwriting on *1999* is a masterclass in juxtaposition: exuberant, sensual, and playful on the surface, yet laced with existential dread and social commentary beneath. The title track, ā1999,ā is a prime example, blending apocalyptic anxiety with a call to celebrationāāTonight weāre gonna party like itās 1999āāas a metaphor for living fully in the face of uncertainty and potential doom[1]. Written during the height of Cold War tensions, the lyrics reference nuclear fears (āEverybodyās got a bomb, we could all die any dayā) but counter them with communal joy and defiance[1]. Throughout the album, Prince shifts between personal and collective perspectives, often using āIā and āweā interchangeably, reinforcing unity and shared experience[1]. Tracks like āLittle Red Corvetteā use automotive imagery as a metaphor for fleeting romance and sexual liberation, while āAutomaticā and āLetās Pretend Weāre Marriedā push boundaries with explicit, sometimes provocative, explorations of desire and identity[2]. āSomething in the Water (Does Not Compute)ā and āAll the Critics Love U in New Yorkā introduce themes of alienation and the dehumanizing effects of modernity, echoing anxieties about technology and emotional disconnect[2]. Even the ballads, āFreeā and āInternational Lover,ā are layered: āFreeā is a piano-driven plea for gratitude and social consciousness, while āInternational Loverā is a tongue-in-cheek, slow-burning seduction that earned Prince his first Grammy nomination[2]. The lyrics across *1999* are consistently inventive, playful, and often subversive, blending pop accessibility with deeper, sometimes darker, reflections. --- **Music** Musically, *1999* is a tour de force of innovation. Prince fully embraces the emerging technologies of the early ā80s, particularly synthesizers and the Linn LM-1 drum machine, to create a sound that is both futuristic and deeply funky[2][3]. The album is dominated by layered synths, crisp electronic drums, and infectious grooves, codifying the āMinneapolis soundā that would influence R&B, pop, and dance music for years[2][3]. The title track opens with cascading synth chords and a robotic spoken intro, setting a tone that is both celebratory and ominous. āLittle Red Corvetteā blends rock guitar with synth-pop textures, creating a crossover hit that brought Prince to a wider rock audience[2]. āDeliriousā is a bouncy, rockabilly-infused synth jam, while āD.M.S.R.ā and āLady Cab Driverā showcase Princeās prowess in funk, with extended jams, call-and-response vocals, and intricate rhythmic interplay[4][2]. Princeās musicianship is on full display: he plays most of the instruments himself but also incorporates contributions from future Revolution members like Lisa Coleman and Dez Dickerson, hinting at the collaborative sound that would define *Purple Rain*[4]. The albumās sequencing is deliberate, with each track flowing into the next, creating a continuous party atmosphere that is occasionally interrupted by moments of introspection or experimental abstraction (āAll the Critics Love U in New Yorkā)[2]. --- **Production** The production on *1999* is groundbreaking. Princeās use of the Linn LM-1 drum machine was revolutionary, providing a crisp, mechanical backbone that contrasted with the warmth of his funk grooves[2][3]. The albumās sound is dense but never cluttered; layers of synths, guitars, and vocals are meticulously arranged to create a sense of space and energy. Princeās approach to recording was both obsessive and visionary. He often worked alone in the studio, meticulously crafting each track, but was also open to input from his band, resulting in a blend of individual genius and collaborative energy[4]. The mix is bold, with prominent drums and bass, shimmering synths, and vocals that range from seductive whispers to ecstatic shouts. The albumās lengthāover 70 minutes across two LPsāwas unusual for a pop record at the time, and Prince uses the extended runtime to explore a wide range of sounds and moods. The production is consistently adventurous, from the robotic funk of āAutomaticā to the jazzy flourishes of āLady Cab Driverā and the sparse, haunting textures of āSomething in the Water (Does Not Compute)ā[2][3]. --- **Themes** *1999* is thematically rich, blending hedonism, anxiety, and social consciousness. The most prominent theme is the tension between celebration and apocalypse: the urge to party as an act of defiance against existential threats, whether nuclear war or personal despair[1][2]. This duality gives the album its emotional depth and enduring relevance. Sexual liberation is another central theme. Princeās lyrics and performances are unabashedly erotic, challenging taboos and celebrating freedom of expression. Yet, this sensuality is often complicated by vulnerability, longing, and the search for connection, as in āSomething in the Water (Does Not Compute)ā and āFreeā[2]. Technology and modernity also loom large. Prince explores the alienating effects of the āComputer Age,ā both lyrically and sonically, foreshadowing the digital anxieties that would become more pronounced in later decades[2]. The albumās use of electronic instruments and robotic rhythms reinforces these themes, creating a soundscape that is both seductive and unsettling. Finally, unity and resilience are recurring motifs. The communal perspective of songs like ā1999ā and āD.M.S.R.ā invites listeners to find strength and joy together, even in the face of adversity[1]. The album is ultimately hopeful, urging listeners to ānot let the elevator bring us downā and to embrace lifeās possibilities[1]. --- **Influence** *1999* is widely regarded as one of the most influential albums of the 1980sāand of Princeās career. It was his first Top 10 album on the Billboard 200 and produced several major hits, including ā1999,ā āLittle Red Corvette,ā and āDeliriousā[4][3]. The albumās success helped break down racial barriers on MTV, with its music videos receiving heavy rotation and introducing Prince to a broader audience[3]. The albumās synth-and-drum machine-heavy arrangements codified the Minneapolis sound, influencing not only R&B and pop but also the development of electro, house, and techno music[2][3]. Artists across genresāfrom Michael Jackson and Madonna to Daft Punk and The Weekndāhave cited Prince and *1999* as key inspirations. Critically, the album has been lauded as a masterpiece of innovation and vision. It has been included on numerous āgreatest albumsā lists, inducted into the Grammy Hall of Fame, and praised for its enduring relevance and forward-thinking sound[2][3]. The albumās blend of funk, pop, rock, and electronic music set a new standard for genre fusion and artistic ambition. --- ## Pros and Cons **Pros** - **Innovative Sound:** Pioneered the use of synthesizers and drum machines in mainstream pop and R&B, creating a blueprint for the Minneapolis sound and influencing countless artists and genres[2][3]. - **Lyrical Depth:** Combines party anthems with existential and social commentary, offering both escapism and substance[1][2]. - **Musical Versatility:** Seamlessly blends funk, pop, rock, and electronic elements, showcasing Princeās range as a songwriter, musician, and producer[4][2]. - **Cultural Impact:** Broke racial barriers on MTV, expanded Princeās audience, and set the stage for his subsequent masterpieces[3]. - **Enduring Relevance:** Themes of anxiety, resilience, and unity remain resonant, and the albumās sound still feels fresh decades later[2]. - **Strong Singles:** Tracks like ā1999,ā āLittle Red Corvette,ā and āDeliriousā are iconic, instantly recognizable, and continue to receive airplay[4][3]. **Cons** - **Length and Pacing:** At over 70 minutes, the album can feel sprawling and occasionally uneven, with some tracks (āAutomatic,ā āAll the Critics Love U in New Yorkā) stretching the listenerās patience[3]. - **Repetitiveness:** Certain musical and lyrical motifs recur throughout, which, while reinforcing the albumās themes, can lead to a sense of repetition on extended listens[3]. - **Production Choices:** The heavy reliance on early ā80s synth and drum machine sounds, while innovative at the time, may feel dated to some modern listeners[2]. - **Explicit Content:** The albumās sexual themes and provocative lyrics, groundbreaking in their time, may not appeal to all audiences and limited radio play for some tracks[2]. --- ## Conclusion *1999* is a towering achievement in Princeās discography and in the history of popular music. Its blend of innovation, ambition, and accessibility helped redefine what a pop album could be, both musically and thematically. The recordās influence can be heard across genres and generations, and its songs remain as vital and compelling today as they were in 1982. While its length and occasional excesses may test some listenersā patience, the albumās strengthsāits inventive production, lyrical depth, and sheer musical joyāfar outweigh its flaws. *1999* is not just a party album; itās a profound meditation on joy, fear, unity, and survival, delivered by one of musicās most visionary artists at the height of his powers.
Absolute classic of an album
Lets party like it's...
I love Prince. Better than āSoft and wetā for me
Love Prince. Some great songs here. Highly 80s
Amazing album! Tunes that fuse rock and funk. Prince was a talented man!
minus points for Delirious ( annoying novelty synth lead) and Free ( tedious) , otherwise š 5