1999

I mean don't get me wrong, 'Sign 'O' The Times' is a masterpiece, but it can't match '1999' it terms of sheer brilliance, and it is only Prince's 1987 album that contains as many outstanding tracks as this record.

Containing 11 tracks (basically an average albums worth of material) Prince manages to sustain a 70 minute running time by extended the majority of the tracks into impressive funk-jams filled with grinding keyboard-lines and interspersed with some of Prince's blistering rhythm guitar work.

Prince's previous album (Controversy) was the blueprint for the 'Minneapolis sound', here is where you can find the full effect. Deep bass, multi-layered keyboard-lines and synthesisers replacing common horns; this was his royal badness at the top of his game, and it's hard to believe at times that every single instrument you hear on the album comes from him.

It's hard to pick the most impressive tracks when near-every track is a standout, but the the title track still generates the kind of excitement you can only get from listening to a Prince song. Utilising a brilliant rhythm track due to the imaginative drum-programming the title cut is an excellent party anthem that (like most of the album) packs a terrific punch.

The other two singles from the album ('Little Red Corvette' and 'Delirious') are equally as impressive. 'LRC' opens with a simple yet beautfiful synthline and leads into what is still, probably, Prince's greatest pop song. 'Delirious' is a lovely little, rockabilly tinged track with, quite possibly, the catchiest keyboard hook ever.

After the commercial dominance of the opening 3 songs you go into darker territory with 'Let's Pretend We're Married'; a relentless, pumping track with pulsing synthesisers that runs at an incredible pace.
Quite a shocker the song is...particularly the last 3 minutes.

More impressive then any of the previous songs though is 'D.M.S.R', that's Dance,Music,Sex,Romance for the non-Prince fanatics out there, an outstanding track which uses another excellent synth hook and a funky rhythm guitar lick to great effect, u don't so much as hear the funk u FEEL it.
Equally as impressive is 'Automatic' - a phenomenal synth-pop-rock number that contains some wonderful keyboard work throughout its 9 minute+ duration.

The masterpiece of the album though is probably 'Something In The Water (does not compute).
Containing what is still Prince's best drum programming ever, the track is curiously a ballad that is funky, it is an incredibly thoughtful piece and the emotions Prince goes through in the song are fascinating.

I won't dwell on all the songs, (i'd be here all day heaping praise) but it would be a crime not to mention 'Lady Cab Driver'.
The second pure-funk song on the album, the song contains some excellent guitar work towards the end of the track and an incredible chicken-scratch guitar lick.
The song concludes with a quite wonderful synth-versus-guitar battle.

Even the tracks I haven't mentioned are superb, and I urge anyone to buy this album. As a Prince fan it's a absolute neccessity, and still remains one of the greatest albums ever.

From the apocalyptic disco funk of the title track with its infectious synthline and distinctive three way split vocal you know your in for a special ride!

This segues into one of my favourites of all time "Little Red Corvette". This is a supreme pop song, how infectious is that hook! How haunting are those opening synths! :)

Next up was the catchy Rockabilly of "Delirious" which goes into the X-Rated "Lets Pretend We're Married".

Other highlights on this consistent album include the funk chant of "DMSR", "Free" (The blueprint for "Purple Rain"), Funky guitar led "Lady Cab Driver" and the class ballad "International Lover" (Prince ballads have always been very consistent since "Do Me Baby").

Throughout the album the use of the experimental Linn Drum machine gives it a very unique sound, coupled with his distinctive synthlines, Prince's "Minneapolis Sound" was truly in effect! Sales wise it fared well on the back of success of "Little Red Corvette" (A big part in black artists getting on MTV).

This initial break through allowed the mega-stardom of "Purple Rain" to follow but artistically this album outdoes even that in my opinion.