1999

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. 😕 Doesn’t matter. Giving Prince 5 stars.

💜

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.

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/

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.

Nice beginning but kind of descends into a sex mad frenzy lol

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.

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.

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 “1999” and “Little Red Corvette”, the album propels you into his world of funk and sexuality. “Let’s pretend we’re married” is one of my favorite tracks with its driving synth and descending vocal line melody. “Automatic” feels like an instrumental even with the repeating vocal line. It also has a great guitar solo around the 8-minute mark. “Lady Cab Driver” 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. It’s also an album that totally rewards multiple listens. There is a lot going on here to listen out for.

Dear Prince, The first sign that the woman in “Little Red Corvette” was trouble is that she had a pocket full of Trojans, *some of them used* (emphasis mine). What kind of maniac does *that*? Probably should’ve just called the song “Giant Red Flag” instead.

I just don't get Prince, there I said it.

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.

It’s 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 Let’s Pretend We’re 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 what’s gone before. I love the rhythm pattern and descending synth motif on Something in the Water (Does Not Compute), it’s 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 doesn’t need to be a double and while the following songs aren’t particularly bad they do drag the album out of focus. Free’s 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 isn’t 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 🚗🚗🚗🚗 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, I’d 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 I’m 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

It’s 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 I’ll concede this album has its moments. There’s 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 12” 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, there’s 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 doesn’t click with me. 1999 has its moments. The title track is fun, and “Little Red Corvette” 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 album’s 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 doesn’t 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 là ... 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, I’ve typically used Bill Laswell’s Aftermathematics for that purpose—a record I consider far more complex and musically sophisticated—but I’m willing to give this one a chance. All jokes aside, I find it difficult to evaluate 1999 on musical terms because it’s so far removed from my personal taste that the gap feels immeasurable. It’s 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 wouldn’t say the 1980s were a musical failure—after all, we had The Pixies, Talking Heads, and Dire Straits—but this album feels like a textbook example of the decade’s ambient noise rather than its artistic high points.

Like getting to like Guinness. I like Guinness, I don’t like Prince despite repeated attempts to do so. I’m always left thinking ‘right, so it’s five minutes to the song in and I’m ready for something to happen’.

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 I’m sick of hearing/reading about how talented a musician Prince apparently was. From the intelligence I’ve 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 can’t stand his vocals and I’ve never liked a single song I’ve ever heard of his. This is like some hellish extended 80s rip off of 70s funk. I’ve produced way funkier things than this album on my morning constitutional.

Prince’s music is so bad. I can’t understand why he’s considered a legend at all. I don’t get it. I hate it. I absolutely hate his music.

Not my cup of te. Every song sounds like ”neutron dance” in my ears

Veldig bra, mye energi og kul vibe

YOOOOOOOO I FREAKING LOVE THIS ALBUM BEST ALBUM SO FAR Tbh 39 out of the 1001 should just be prince albums lets be real cuz like who wants to listen to duck rock by malcom mclaren? Who is that guy?

💜💜💜💜💜

I think Prince killed about 6 women in the lyrics of this album

Good album

ah hell naw what were my parents doing listening to this freaky ass shit. i literally remember the day this guy died exclusively because my parents spent half the day searching the house for their prince comp cd just so they could listen to it to honor his passing ts hard tho i get the hype. i like the fucked up looking penis 1 on the cover a lot

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. 😆 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 Prince’s *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 album’s lyrics, music, production, themes, and influence, and concludes with a balanced assessment of its strengths and weaknesses. --- **Lyrics** Prince’s 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, “1999,” is a prime example, blending apocalyptic anxiety with a call to celebration—“Tonight we’re gonna party like it’s 1999”—as 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 (“Everybody’s got a bomb, we could all die any day”) but counter them with communal joy and defiance[1]. Throughout the album, Prince shifts between personal and collective perspectives, often using “I” and “we” interchangeably, reinforcing unity and shared experience[1]. Tracks like “Little Red Corvette” use automotive imagery as a metaphor for fleeting romance and sexual liberation, while “Automatic” and “Let’s Pretend We’re Married” push boundaries with explicit, sometimes provocative, explorations of desire and identity[2]. “Something in the Water (Does Not Compute)” and “All the Critics Love U in New York” introduce themes of alienation and the dehumanizing effects of modernity, echoing anxieties about technology and emotional disconnect[2]. Even the ballads, “Free” and “International Lover,” are layered: “Free” is a piano-driven plea for gratitude and social consciousness, while “International Lover” 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 ’80s, 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 “Minneapolis sound” 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. “Little Red Corvette” blends rock guitar with synth-pop textures, creating a crossover hit that brought Prince to a wider rock audience[2]. “Delirious” is a bouncy, rockabilly-infused synth jam, while “D.M.S.R.” and “Lady Cab Driver” showcase Prince’s prowess in funk, with extended jams, call-and-response vocals, and intricate rhythmic interplay[4][2]. Prince’s 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 album’s 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 (“All the Critics Love U in New York”)[2]. --- **Production** The production on *1999* is groundbreaking. Prince’s 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 album’s sound is dense but never cluttered; layers of synths, guitars, and vocals are meticulously arranged to create a sense of space and energy. Prince’s 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 album’s length—over 70 minutes across two LPs—was 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 “Automatic” to the jazzy flourishes of “Lady Cab Driver” and the sparse, haunting textures of “Something in the Water (Does Not Compute)”[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. Prince’s 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 “Something in the Water (Does Not Compute)” and “Free”[2]. Technology and modernity also loom large. Prince explores the alienating effects of the “Computer Age,” both lyrically and sonically, foreshadowing the digital anxieties that would become more pronounced in later decades[2]. The album’s 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 “1999” and “D.M.S.R.” invites listeners to find strength and joy together, even in the face of adversity[1]. The album is ultimately hopeful, urging listeners to “not let the elevator bring us down” and to embrace life’s possibilities[1]. --- **Influence** *1999* is widely regarded as one of the most influential albums of the 1980s—and of Prince’s career. It was his first Top 10 album on the Billboard 200 and produced several major hits, including “1999,” “Little Red Corvette,” and “Delirious”[4][3]. The album’s success helped break down racial barriers on MTV, with its music videos receiving heavy rotation and introducing Prince to a broader audience[3]. The album’s 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 genres—from Michael Jackson and Madonna to Daft Punk and The Weeknd—have 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 “greatest albums” lists, inducted into the Grammy Hall of Fame, and praised for its enduring relevance and forward-thinking sound[2][3]. The album’s 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 Prince’s range as a songwriter, musician, and producer[4][2]. - **Cultural Impact:** Broke racial barriers on MTV, expanded Prince’s audience, and set the stage for his subsequent masterpieces[3]. - **Enduring Relevance:** Themes of anxiety, resilience, and unity remain resonant, and the album’s sound still feels fresh decades later[2]. - **Strong Singles:** Tracks like “1999,” “Little Red Corvette,” and “Delirious” 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 (“Automatic,” “All the Critics Love U in New York”) stretching the listener’s patience[3]. - **Repetitiveness:** Certain musical and lyrical motifs recur throughout, which, while reinforcing the album’s themes, can lead to a sense of repetition on extended listens[3]. - **Production Choices:** The heavy reliance on early ’80s synth and drum machine sounds, while innovative at the time, may feel dated to some modern listeners[2]. - **Explicit Content:** The album’s 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 Prince’s 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 record’s 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 listeners’ patience, the album’s strengths—its inventive production, lyrical depth, and sheer musical joy—far outweigh its flaws. *1999* is not just a party album; it’s a profound meditation on joy, fear, unity, and survival, delivered by one of music’s most visionary artists at the height of his powers.