0 O(+> (1992)

Prince does not always make albums the length of feature films, but it does seem to be a default position. This so-called Love Symbol Album is another, featuring the lively New Power Generation band and road-testing his new "name" (the symbol reproduced emoticon style with O(+>). Part grand joke, part deranged reaction from a legal dispute with Warner Bros. over rights to the master recordings of his material, it's about as exasperating and hilarious as anything he has done. Talk about passive aggressive. Warner Bros. was forced to send floppy discs to all its media contacts with the custom font. Flailing for direction, PR and fans took to referring to him as "The Artist Formerly Known as Prince," "TAFKAP," "The Artist," or "glyph," all of which seemed infinitely more silly than anything yet. "My name is Prince," he announces in the first seconds of this album, on a song of exactly that name. I took that as meaning the issue of pronunciation had been reasonably clearly addressed. At any rate, it's a pretty good song, and it's followed with an even better song, "Sexy M.F." Early indications were thus that this would be a worthy follow-up to the preceding Diamonds and Pearls, which was very good. But O(+> soon wanders off into the great caverns of its 18 total tracks and some narrative "rock opera" concept that periodically surfaces, mostly in connection to the short and baffling (and annoying—please, everyone, stop these skits) spoken-word "segue" tracks. For what it's worth, Wikipedia reports that many more of the segue tracks, clarifying the story, were tossed in favor of a late addition, "I Wanna Melt With You." It's a good song and I applaud the decision to backbench the story. On recent visits, in fact, the more I hear of this album the more I like these songs, so take this if you will as a positive recommendation and not just a cautious one. It's a strong entry in his second tier. As is usually the case, I prefer the songs with more tempo over torchy turns at ballads, but it's all good. TAFKAP has always known what he's doing when it comes to the art and science of entertainment, and the pacing here is flawless. It's the case even on what most consider his weaker albums, such as Rave Un2 the Joy Fantastic, so easy to take for granted perhaps. But no one puts together a 75-minute album better than glyph.

Detail: O(+> (1992)

0 Sign ☮' the Times (1987)

Out of curiosity, I wonder what the consensus presently is on best Prince album? I know a lot of people were very high on Sign for some time, but I have a feeling most of the affection has settled on Purple Rain (or, in some circles, Dirty Mind). I have always admired and respected Sign but never exactly loved it. Let me try to explain. It often feels a little like work to take it on, and not only for its generous double-LP 80-minute dimensions. There are other reasons. For example, the worst song here is the first one encountered, and the title song no less. A fetching aural landscape (as also was "When Doves Cry," remember) but more of a novelty and/or inert art object, and ultimately tiresome I think. No need to go into the belabored attempt to be topical, I hope. I don't doubt Prince wanted peace on this earth in 1987, still does, and always has, but he's a little fatuous about it, don't you think? There's a downside to spending your life locked into a studio. Then there are what I think of as The Lessons in Funk—"Housequake," or "Hot Thing." This is great stuff, but is it my imagination or is there something a little clinical here? I guess there's a downside to putting on a clinic too. He studied his James Brown, George Clinton, Marvin Gaye, Jimi Hendrix, and Little Richard well. Prince Rogers Nelson is the Tiger Woods of funk and soul and rock 'n' roll and always has been. He knew where to fix his gaze and absorb, and he's loaded with talent. And it is indeed brilliant music to be found here, absolutely ... stop to listen close ... sure enough, hands in the air like I just don't care. So why don't I get to it more often? Partly I think there are actually a good many lesser lights besides the title song. I don't like "Starfish and Coffee" or "The Ballad of Dorothy Parker," and "The Cross" is the kind of business I don't want to be involved in (wonderful grinding bottom or no). In other cases the songs themselves are patchy: "Play in the Sunshine" and "It" have very nice moments but can be lackluster about getting there. "Slow Love" is a good one, the kind of torchy sex song he does on a regular basis and often pulls off (which also means it isn't necessarily indispensable). "If I Was Your Girlfriend" is weird in a good way and charming. "U Got the Look" works pretty well too, and "It's Gonna Be a Beautiful Night" is about as big as the 9:02 allows. My favorite on the recent visits was "I Could Never Take the Place of Your Man" and its soaring hook, which sounds to me like it could have played on Purple Rain, although maybe (or maybe not) I could do without the proggy break (thus making it another patchy song, though at 6:29 it has the room to breathe too). I have to admit, I tend to favor the next album over this, Lovesexy, which I thought better achieved the seamless suite of everything he is going for (see also, names above), sans huffed-up topicality, which feels more like making it mighty real to me. But I expect Sign O' the Times (with or without embedded peace symbol) is pretty far up the Rolling Stone Rock & Roll Hall of Fame ladder, yes?

Detail: Sign ☮' the Times (1987)