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My 1,999th post What else can I do with this, my 1,999th post, other than to dedicate it to my favorite album, "1999!" There has been a lot of discussion recently about this album, whether it defines Prince and whether its unique facets are strengths or weaknesses.
This album and I have had a long history. One of the first Prince songs (if not THE first) that I knew was "1999." It quickly became my favorite song of his. I was probably 10 or so by the time that I gained enough interest to sneak money to my brother (TRON) to buy me the tape outside of the wary guise of my mother, who would have had a conniption upon discovering that I owned an album by PRINCE. Soon thereafter, my brother, being the good brother that he is, exposed me to more of Prince's music. Regardless, "1999" remained my favorite to this day, for its quirkiness and its style. Why do I hold such a dear place in my heart for "1999?" First, it defines me musically more than any other album. Its undeniably sassy and confident funk flows freely through my insatiable ears. Its synth/new wave also suits me well, as that genre is arguably my favorite. Stylistically then, the combination of funk and synth appeals to me greatly. I also love the album for what it represents. "1999" is one of the most adventurous albums I have heard. Its 11 songs sprawl across many feelings and emotions with a confident swagger. However, as has been mentioned, this album breaks the format of the traditional 3 to 4 minute pop song. As his first double LP, "1999" is furthermore a bold move as it implies that Prince was important enough to merit double the attention of the general audience. Having not had overwhelming success, this is quite a statement. And the music lives up to the pretensions. Each song on the album is crafted with a keen sense of style and substance. Even the more mainstream songs carry a deeper meaning under the surface. The title track, for example, not only clamors for a gigantic party (and what a funky party at that!), but carries an undertone of an impending sense of doom and the need to be prepared for the worst. "Little Red Corvette" also proved to be commercial fodder, but its message of the triumph of love over lust indicates that this is a Prince who has matured to some degree. "Delirious" continues the car theme present in LRC and explores the effects of the suffocating beauty of a woman. The format of the album also is quite intriguing. Craftily placing the smash singles at the beginning of the album, "1999" then meanders into deeper, darker, and more experimental territory. "Let's Pretend We're Married" has been described by some as the dirtiest song on a top 10 album. The juxtaposition of the messages of infidelity and obedience to God is just one paradox in an album filled with many. "DMSR" evolved into a sort of motto for Prince. Its line "I don't care to win awards...all I wanna do is dance, dance music sex romance..." is exemplary of Prince's attitude at the time. "Automatic" follows with its sonic ecstasy superimposed over dark messages of bondage and torture. Its 9 minutes are a voyage into seemingly uncharted territory. What follows may be the best track on the album, "Something in the Water (Does Not Compute)." A turbulent drum line opens the song and sets the stage for the uneasiness that follows with the lyrics. Obviously broken-hearted, Prince struggles to find an explanation for the substandard treatment he receives from the women he loves. Cleverly incorporating alliteration in its scheme, lyrically the song is quite impressive. The song, like its composer, seems to be tearing apart at its seams- at once maintaining the turbulent, robotic synths and drums while the emotion beings to overflow with an almost psychotic zest. "Free" offers a prelude to what would come in Prince's career with the massive anthemic success of "Purple Rain." "Lady Cab Driver" funks like no other and features Prince exorcising the demons of his insecurities while having intercourse with his female chauffer. At once vulnerable and needy, Prince confides his fears and doubts in her, forming a bond consummated by passionate sex. Although undeniably funky, it is only a precursor to what is perhaps the funkiest song of Prince's career- "All the Critics Love U in New York." Exuding great confidence, Prince realizes that he is the "it" artist of the time and takes the opportunity to take a swipe at his critics and admirers alike. The funk effervesces throughout the entire song, wading into experimental territory. It is undeniably singular in its kind and stands out as one of the most memorable moments on not only the album, but of his career. The album closes with "International Lover," an appropriate ending track to this voyage through the dark realms of electronic funk. Sassy and strident, the song obviously gave Prince a chance to appeal to his fans who found him sexy. Thus concludes what I believe to be a masterpiece. This album has never ceased to entertain and surprise me. All the tracks have overwhelmed me at some point and continue to duke it out for the lofty spot of my favorite on the album. This album has taught me a lot about music and my own style. I adore it thoroughly. | |
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Damn,I just realized that I have made 2,725 posts!! Wow!! | |
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yea well I have made 40...mostbeautifulgrlntheworld gives herself a  for being so retarded. | |
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It comes down to 1999 and ATWIAD - which one wins? | |
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I find 1999 such an exciting album to listen to. Prince seamlessly turns hit making into his ultimate funk expression. I find the musical pulse on this record absolutely breathtaking all the way through. It is without a doubt my favourite album by Prince.
P.S. Excellently written, Moonbeam! | |
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They say 2000 zero zero party over...oops! Out of time. | |
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1999 was the first Prince album I bought.
Heard 1999 on Casey Kasem's TV show. read some reviews that praised it to high heaven so I bought it without hearing anything else. Usually don't buy double albums unless I really know the artist so this was an exception. Plus it was on sale really cheap. Like a new album cost $4.99 & 1999 was special priced at $6.99. Wow thats like $3.50 a record. Been hooked ever since. | |
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Co-sign, the entire post. This post not for the wimp contingent. All whiny wusses avert your eyes. | |
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one of the best P albums, ever!!! "Something in the Water" has to be one of my all time favorite songs...period. I still remember the first time I played the album. "Auto-matic" "DMSR" "FREE" "Lets pretend we're married" "LADY CAB DRIVER"...
DAMN!!! The Prince.org Photo Album http://www.purplehouse.nl...ery/Jacqui | |
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I'm stunned as I'm listening to this album right now. It's a work of pure genius. | |
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Moonbeam said: I'm stunned as I'm listening to this album right now. It's a work of pure genius.
It's inspired. The only thing it needs is to be REMASTERED. I dig the way the second half of it flows so seemlessly... This post not for the wimp contingent. All whiny wusses avert your eyes. | |
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Supernova said: Moonbeam said: I'm stunned as I'm listening to this album right now. It's a work of pure genius.
It's inspired. The only thing it needs is to be REMASTERED. I dig the way the second half of it flows so seemlessly... True that! The second half really reminds me of the movie "Tron." | |
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who said my name? what? | |
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Moonbeam said: Supernova said: Moonbeam said: I'm stunned as I'm listening to this album right now. It's a work of pure genius.
It's inspired. The only thing it needs is to be REMASTERED. I dig the way the second half of it flows so seemlessly... True that! The second half really reminds me of the movie "Tron." You know, even though the styles are totally different, I sort of think of it in terms of Abbey Road's second side. Though that one is a suite of songs, it has a brilliant flow, just like the second disc of 1999. In content and style they're TOTALLY different, but it's so diverse yet well-connected at the same time. Not that I don't like the first disc, it's just that...it gets even better as it goes along. This post not for the wimp contingent. All whiny wusses avert your eyes. | |
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One thing I love about the album is its consistency. The singles, although great, are definitely not superior to the non-singles. I never, EVER, tire of this album. | |
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Supernova said: Moonbeam said: Supernova said: Moonbeam said: I'm stunned as I'm listening to this album right now. It's a work of pure genius.
It's inspired. The only thing it needs is to be REMASTERED. I dig the way the second half of it flows so seemlessly... True that! The second half really reminds me of the movie "Tron." You know, even though the styles are totally different, I sort of think of it in terms of Abbey Road's second side. Though that one is a suite of songs, it has a brilliant flow, just like the second disc of 1999. In content and style they're TOTALLY different, but it's so diverse yet well-connected at the same time. Not that I don't like the first disc, it's just that...it gets even better as it goes along. Never heard "Abbey Road."  | |
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Moonbeam said: Never heard "Abbey Road."
Oh! That's right!!! You don't like the Beatles! LOL I forgot about that.
Well, like a lot of people, I think they're over-discussed, as somebody recently put it, and not the Alpha/Omega of ALL music in general, although I definitely like some of their music. But like I said, the second half of both albums aren't in any way alike, but the flows of both are seamless. This post not for the wimp contingent. All whiny wusses avert your eyes. | |
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Another facet of the album that I love is that it was the last music he recorded before becoming a household name. He still was fighting for an audience. However, he comes across with such confidence with this album, regardless. It's both brazen and experimental, challenging and instantly familiar- it truly embodies what true art is. I can never envision myself liking any album more than "1999." | |
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Moonbeam said: Another facet of the album that I love is that it was the last music he recorded before becoming a household name. He still was fighting for an audience. However, he comes across with such confidence with this album, regardless. It's both brazen and experimental, challenging and instantly familiar- it truly embodies what true art is. I can never envision myself liking any album more than "1999."
This is why I don't view Warner Bros. as "the devil" - at least not until there started to be a personnel shake-up about 10 years later: they gave him carte blanche to release a double album at a time when he had yet to even go platinum with an album. And I could be wrong about this, but at the time I don't think that his previous 4 albums had gone gold individually. That wont happen in today's music industry. And if it did, it's no guarantee that a particular artist will come through commercially (which is primarily what they want) OR artisitically. This one embodies both aspects at the same time. His grasp equalled his ambition. Edit me baby... [This message was edited Sun Sep 22 3:09:39 PDT 2002 by Supernova] This post not for the wimp contingent. All whiny wusses avert your eyes. | |
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Supernova said: Moonbeam said: Another facet of the album that I love is that it was the last music he recorded before becoming a household name. He still was fighting for an audience. However, he comes across with such confidence with this album, regardless. It's both brazen and experimental, challenging and instantly familiar- it truly embodies what true art is. I can never envision myself liking any album more than "1999."
This is why I don't view Warner Bros. as "the devil" - at least not until their started to be a personnel shake-up about 10 years later: they gave him carte blanche to release a double album at a time when he had yet to even go platinum with an album. And I could be wrong about this, but at the time I don't think that his previous 4 albums had gone gold individually. That wont happen in today's music industry. And if it did, it's no guarantee that a particular artist will come through commercially (which is primarily what they want) OR artisitically. This one embodies both aspects at the same time. His grasp equalled his ambition. [This message was edited Sun Sep 22 3:08:56 PDT 2002 by Supernova] That is a wonderful point! This album was the perfect album for Prince to release at that time in his career, and at that time in music history. It truly is singular of its kind! | |
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 I had 1,982 posts when I was Aaron. Now I'm starting over. | |
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Bumped for RD! | |
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schweet! How the hell did I miss this? Ok I got my 1999 review for ya comin up--lemme swipe it "Climb in my fur." | |
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it's the Prince album where the Guy truly found His SOund&treated the Studio&His Instruments like a Kid in a Candy Store.He felt the whole vibe&Flowed with it from start too finish.with this Album you could tell Prince was a Man on a Mission.it still is slamming&Right ON Time! mistermaxxx | |
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 1999~KiKi | |
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Moonbeam said: What else can I do with this, my 1,999th post, other than to dedicate it to my favorite album, "1999!" There has been a lot of discussion recently about this album, whether it defines Prince and whether its unique facets are strengths or weaknesses.
This album and I have had a long history. One of the first Prince songs (if not THE first) that I knew was "1999." It quickly became my favorite song of his. I was probably 10 or so by the time that I gained enough interest to sneak money to my brother (TRON) to buy me the tape outside of the wary guise of my mother, who would have had a conniption upon discovering that I owned an album by PRINCE. Soon thereafter, my brother, being the good brother that he is, exposed me to more of Prince's music. Regardless, "1999" remained my favorite to this day, for its quirkiness and its style. Why do I hold such a dear place in my heart for "1999?" First, it defines me musically more than any other album. Its undeniably sassy and confident funk flows freely through my insatiable ears. Its synth/new wave also suits me well, as that genre is arguably my favorite. Stylistically then, the combination of funk and synth appeals to me greatly. I also love the album for what it represents. "1999" is one of the most adventurous albums I have heard. Its 11 songs sprawl across many feelings and emotions with a confident swagger. However, as has been mentioned, this album breaks the format of the traditional 3 to 4 minute pop song. As his first double LP, "1999" is furthermore a bold move as it implies that Prince was important enough to merit double the attention of the general audience. Having not had overwhelming success, this is quite a statement. And the music lives up to the pretensions. Each song on the album is crafted with a keen sense of style and substance. Even the more mainstream songs carry a deeper meaning under the surface. The title track, for example, not only clamors for a gigantic party (and what a funky party at that!), but carries an undertone of an impending sense of doom and the need to be prepared for the worst. "Little Red Corvette" also proved to be commercial fodder, but its message of the triumph of love over lust indicates that this is a Prince who has matured to some degree. "Delirious" continues the car theme present in LRC and explores the effects of the suffocating beauty of a woman. The format of the album also is quite intriguing. Craftily placing the smash singles at the beginning of the album, "1999" then meanders into deeper, darker, and more experimental territory. "Let's Pretend We're Married" has been described by some as the dirtiest song on a top 10 album. The juxtaposition of the messages of infidelity and obedience to God is just one paradox in an album filled with many. "DMSR" evolved into a sort of motto for Prince. Its line "I don't care to win awards...all I wanna do is dance, dance music sex romance..." is exemplary of Prince's attitude at the time. "Automatic" follows with its sonic ecstasy superimposed over dark messages of bondage and torture. Its 9 minutes are a voyage into seemingly uncharted territory. What follows may be the best track on the album, "Something in the Water (Does Not Compute)." A turbulent drum line opens the song and sets the stage for the uneasiness that follows with the lyrics. Obviously broken-hearted, Prince struggles to find an explanation for the substandard treatment he receives from the women he loves. Cleverly incorporating alliteration in its scheme, lyrically the song is quite impressive. The song, like its composer, seems to be tearing apart at its seams- at once maintaining the turbulent, robotic synths and drums while the emotion beings to overflow with an almost psychotic zest. "Free" offers a prelude to what would come in Prince's career with the massive anthemic success of "Purple Rain." "Lady Cab Driver" funks like no other and features Prince exorcising the demons of his insecurities while having intercourse with his female chauffer. At once vulnerable and needy, Prince confides his fears and doubts in her, forming a bond consummated by passionate sex. Although undeniably funky, it is only a precursor to what is perhaps the funkiest song of Prince's career- "All the Critics Love U in New York." Exuding great confidence, Prince realizes that he is the "it" artist of the time and takes the opportunity to take a swipe at his critics and admirers alike. The funk effervesces throughout the entire song, wading into experimental territory. It is undeniably singular in its kind and stands out as one of the most memorable moments on not only the album, but of his career. The album closes with "International Lover," an appropriate ending track to this voyage through the dark realms of electronic funk. Sassy and strident, the song obviously gave Prince a chance to appeal to his fans who found him sexy. Thus concludes what I believe to be a masterpiece. This album has never ceased to entertain and surprise me. All the tracks have overwhelmed me at some point and continue to duke it out for the lofty spot of my favorite on the album. This album has taught me a lot about music and my own style. I adore it thoroughly. How can anybody not love you after that?
. [This message was edited Tue Jan 21 23:06:15 PST 2003 by rdhull] "Climb in my fur." | |
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Supernova said: Moonbeam said: Another facet of the album that I love is that it was the last music he recorded before becoming a household name. He still was fighting for an audience. However, he comes across with such confidence with this album, regardless. It's both brazen and experimental, challenging and instantly familiar- it truly embodies what true art is. I can never envision myself liking any album more than "1999."
This is why I don't view Warner Bros. as "the devil" - at least not until there started to be a personnel shake-up about 10 years later: they gave him carte blanche to release a double album at a time when he had yet to even go platinum with an album. And I could be wrong about this, but at the time I don't think that his previous 4 albums had gone gold individually. That wont happen in today's music industry. And if it did, it's no guarantee that a particular artist will come through commercially (which is primarily what they want) OR artisitically. This one embodies both aspects at the same time. His grasp equalled his ambition. Edit me baby... [This message was edited Sun Sep 22 3:09:39 PDT 2002 by Supernova] mistermaxxx | |
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Definately one of my faves...  |
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rdhull said: schweet! How the hell did I miss this?
Actually Im lying..I didnt miss it..I didnt want to fuck with your steelo, cypher or you and Supernovas convo, cypher etc . [This message was edited Tue Jan 21 23:22:01 PST 2003 by rdhull] "Climb in my fur." | |
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rdhull said: rdhull said: schweet! How the hell did I miss this?
Actually Im lying..I didnt miss it..I didnt want to fuck with your steelo, cypher or you and Supernovas convo, cypher etc . [This message was edited Tue Jan 21 23:22:01 PST 2003 by rdhull] But you know there can't be a discussion about 1999 without your input. It just wouldn't be right! | |
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