We now live in an era where the individual artist is not accepted for following their own muse. It seems to be relevant they must have the producer of the moment or the performer of the moment to be considered worthy. I get the feeling a lot people (reviewers included) don't really "hear" prince anymore. They are lazy of the ear and extremely dismissive. Since really there only true reference points are Purple rain they refuse to see Prince as an evolving artist. Maybe because we no longer look at pop music as art (if we ever did). Now its just product. If it not packed with the latest cultural markers (neptunes, etc.) than its not relevant.

When Prince veers from the commercial and toward the more idiosyncratic he is viewed as "self indulgent" while when he embraces more commercial sounds he runs head first into comparisons with his most popular music. That's a battle he can't win because its loaded with the nostalgia of memory and the easy reach of conventional wisdom (group think).

In an era where music is disposable and downloaded for free is there really a model for an artist like Prince to be appreciated. Prince's greatest "crime" is maturing musically and physically. That's not really appreciated in this youth oriented/ 15 minute of fame culture.

tricky99 said:

that's a specious dispute of this review. the point is that the reviewer did not find the music enjoyable and found the music dated, unimaginitive and contrived, and proposed that outside help could help Prince create new music just as great as his old jams but also relevent to todays music enviornment.

this has nothing to do with him following his own muse. heck, that's hardly a defense of Prince at all. every song he has ever written comes form his own muse, but that doesn't mean they are all good or simply should be applauded for such. if that is a defense of Prince it is a defense of every musician or art form and noone should ever be criticized because they are simply doing what they want to do, and that is an act that should be applauded, as per you. but that is hardly the case.

Okay, here's the thing:

The review is thoughtful. And unfortunately, accurate. Tough love for Prince, and someone had to say it.....

I've been listening to 3121 regularly and absolutely love it. I think it's his best album in years---when you think of a quintessential Prince album--the sexy, danceable tunes, lyrics, hooks, soul ballads, etc....it's all here. It's a PRINCE album. And a very enjoyable one. When you pay for this Prince album, you get your money's worth.

That being said, he just hasn't broken any new ground at all....which is annoying. It's surprising that a man of his gifts and genius does not strive to break out of his comfort zone. It's not that the songs aren't good, it's just that we've heard them all before many times.

Some complain that when he gets too off the wall he's inaccessible to the masses....But I think what we want deep down if for Prince to re-invent the pop wheel again, like he did with "When Doves Cry". He is capable of it, he is capable of wonderful experimentation, because he IS a genius. Perhaps he keeps that music personal and only releases the poppy stuff. But he shouldn't be surprised by reviews like EW's, because he's repeating himself...

All that said, I have great respect for any artist who finds a signature sound and NAILS it so well that when you think of that artists' sound, it's unquestionably theirs. It belongs to no other! Like U2's latest album. It sounds vibrant, like 3121, but it's a U2 album made by U2. There's a kind of genius in that.

Haven't heard the album yet, but it's no brainer here just based on the first two singles from the album released thus far...YAWN...

dumbass said:

thank you, dumbass.

Anx said:

It seems to me when Prince follows his muse (i.e. TRC, NEWS) he is labeled as "self indulgent". And really what that means is your making the music u want too not the music I want to hear from u. What's the point of getting ?uestlove or the neptunes are whoever is the latest sensation to make him "relevant"? Why not just accept or reject based just on what he can produce on his own. I much rather recieve an authenic prince creation then see prince as a puppet of the latest musical fad. if u want neptunes or ?uestlove listen to them, no problem. I mean if your wife doesn't quite do it for u anymore. U can a) divorce her or b) live with it. I doubt that u would propose to bring in a young hot model for a threesome.

rainbowchild said:

That's almost how I feel about it. Almost. It's been a very long time since I was excited about a new release from Prince, going on 10 years. I'm not gonna put myself through a lot of cognitive experimentation as to why I should like his lp's ("he's evolving", "he's older", "he's nothing left to prove") and I certainly don't bash the man because I no longer enjoy his music, because he doen't owe me jack.

It is what it is...nothing more or less. But you better believe I'll always check out his concerts when he comes this way!

Entertainment Weekly

March 24, 2006
SECTION: MUSIC; Pg. 68 No. 869
LENGTH: 546 words
HEADLINE: Frog Prince;
Once again, he fails to meet our great expectations.
BYLINE: Raymond Fiore
BODY:
PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent.

But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest.

And so comes his umpteenth disappointment--3121, a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose.

Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined.

But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+
[Edited 3/17/06 2:54am]

murph said:

This is where I stopped reading...

MartyMcFly said:

LOL when I first read that line I thought it said "middle aged man breasts" I was starting to wonder if Prince was letting his phisique slip.

tricky99 said:

Preach it Tricky! Dead on the nail.

murph said:

We now live in an era where the individual artist is not accepted for following their own muse. It seems to be relevant they must have the producer of the moment or the performer of the moment to be considered worthy. I get the feeling a lot people (reviewers included) don't really "hear" prince anymore. They are lazy of the ear and extremely dismissive. Since really there only true reference points are Purple rain they refuse to see Prince as an evolving artist. Maybe because we no longer look at pop music as art (if we ever did). Now its just product. If it not packed with the latest cultural markers (neptunes, etc.) than its not relevant.

When Prince veers from the commercial and toward the more idiosyncratic he is viewed as "self indulgent" while when he embraces more commercial sounds he runs head first into comparisons with his most popular music. That's a battle he can't win because its loaded with the nostalgia of memory and the easy reach of conventional wisdom (group think).

In an era where music is disposable and downloaded for free is there really a model for an artist like Prince to be appreciated. Prince's greatest "crime" is maturing musically and physically. That's not really appreciated in this youth oriented/ 15 minute of fame culture.

purplecam said:

I agree with Tricky. Today's emphasis seems to be on "hot producers." Hot producers did nothing for Gwen Stefani's solo album. She's so dull by herself. EW reviewed her album twice. Did it really deserve that much attention?
"Great expectations" indeed. Why can't they appreciate what's there?
[Edited 3/17/06 18:03pm]

At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to.

murph said:

This is where I stopped reading...

murph said:

This is where I stopped reading...

Entertainment Weekly

March 24, 2006
SECTION: MUSIC; Pg. 68 No. 869
LENGTH: 546 words
HEADLINE: Frog Prince;
Once again, he fails to meet our great expectations.
BYLINE: Raymond Fiore
BODY:
PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent.

But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest.

And so comes his umpteenth disappointment--3121,a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose.

Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined.

But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+
[Edited 3/17/06 2:54am]

Entertainment Weekly

March 24, 2006
SECTION: MUSIC; Pg. 68 No. 869
LENGTH: 546 words
HEADLINE: Frog Prince;
Once again, he fails to meet our great expectations.
BYLINE: Raymond Fiore
BODY:
PRINCE 3121 (Universal) When Prince staged a colorful 2004 resurrection (Musicology "sold" over 2 million copies, thanks to an ingenious ploy of bundling a CD with every ticket purchased for that year's top-grossing concert tour), he achieved something resembling renewed cultural relevance. Playing mostly smashes from his prolific career and impressing a new generation with his enviable instrumental chops, the tour made a convincing case for why the art of showmanship sans pricey effects and grotesque production numbers should be preserved. And two decades past his commercial peak, Prince also proved that there's still no other artist who can simultaneously captivate and baffle an arena with such an arresting arsenal of humor, charisma, weirdness, and undeniable talent.

But lest there be any confusion, the masses were actually celebrating a peerless stage performer and combustible musical force, not the return to form of an ex-hitmaker. Musicology hardly constituted a bona fide comeback disc; its derivative, retro-tinged tunes barely made a squeak at radio, and simply buckled in concert when sandwiched between classics like "Kiss" and "Let's Go Crazy." Apologies, O Purple One--having once raised the pop-music bar means you get away with less than the rest.

And so comes his umpteenth disappointment--3121, a messier, more self-indulgent affair than its predecessor. At least Musicology had a coherent point to prove: that Prince could make real music with real instruments as the old-soul masters--and he--used to. Sonically, this new disc feels like a random sampling of 12 tracks from his unedited unconscious. Zigzagging from a distorted synth-funk groove on the title track to the abominably boring slow-dance "Te Amo Corazón" to the Muscle Shoals-style gospel-blues of "Satisfied," it finds Prince striking his familiarly cocky I-Can-Do-It-All pose.

Only he can't do it all anymore, at least not on record. While his electro-soul stylings are regularly referenced by the likes of OutKast and the Neptunes, Prince hasn't figured out how to reach back into his '80s bag of tricks and create something that feels contemporary in the way those disciples have. Instead, tracks that might have rocked in 1986, like the guitar-heavy romp "Fury," feel perilously caught in a time warp somewhere between cool-dated and wack-modern. Only the new single "Black Sweat" does a laudable job of referencing O.G. Prince while still reminding the industry's young 'uns that he's got more mojo in just one of his meticulously plucked eyebrows than all of them combined.

But that's not to imply said young 'uns couldn't help him make something truly great. Maybe let Andre 3000 and the Roots' ?uestlove put some sizzle on those used-to-be-fresh, middle-aged-man beats. Because when left alone with his own limitless potential, Prince can't resist getting in his own way, as evidenced by "The Dance," an overblown Latin-shuffle melodrama loaded with every superfluous bell, whistle, clap, and string sound at his disposal. And while the song climaxes in some passionate, cord-shredding screams that recall Purple Rain's orgasmic symphony "The Beautiful Ones," it's a contrived moment. One that epitomizes why 3121's tired tracks aren't worthy of Prince's prodigious gifts. C+
[Edited 3/17/06 2:54am]