1999

( 2 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
With Dirty Mind, Prince had established a wild fusion of funk, rock, new wave, and soul that signaled he was an original, maverick talent, but it failed to win him a large audience. After delivering the sound-alike album, Controversy, Prince revamped his sound and delivered the double album 1999. Where his earlier albums had been a fusion of organic and electronic sounds, 1999 was constructed almost entirely on synthesizers by Prince himself. Naturally, the effect was slightly more mechanical and robotic than his previous work and strongly recalled the electro-funk experiments of several underground funk and hip-hop artists at the time. Prince had also constructed an album dominated by computer funk, but he didn't simply rely on the extended instrumental grooves to carry the album -- he didn't have to when his songwriting was improving by leaps and bounds. The first side of the record contained all of the hit singles, and, unsurprisingly, they were the ones that contained the least amount of electronics. "1999" parties to the apocalypse with a P-Funk groove much tighter than anything George Clinton ever did, "Little Red Corvette" is pure pop, and "Delirious" takes rockabilly riffs into the computer age. After that opening salvo, all the rules go out the window -- "Let's Pretend We're Married" is a salacious extended lust letter, "Free" is an elegiac anthem, "All the Critics Love U in New York" is a vicious attack at hipsters, and "Lady Cab Driver," with its notorious bridge, is the culmination of all of his sexual fantasies. Sure, Prince stretches out a bit too much over the course of 1999, but the result is a stunning display of raw talent, not wallowing indulgence.
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Product Details

  • Release Date: 10/25/1990
  • Label: Warner Bros / Wea
  • UPC: 075992372022
  • Catalog Number: 23720
  • Sales rank: 2,169

Album Credits

Performance Credits
Prince Primary Artist, Bass, Guitar, Drums, Keyboards, Vocals
Brownmark Bass, Vocals, Background Vocals, Hand Clapping
Vanity Vocals, Background Vocals
Lisa Coleman Keyboards, Sitar, Vocals, Background Vocals
Dez Dickerson Guitar, Vocals
Peggy McCreary Vocals
Wendy Melvoin Guitar, Percussion, Vocals, Background Vocals
Jamie Starr Vocals
Poochie Vocals, Background Vocals, Hand Clapping
The Count Vocals
Jill Jones Vocals
Technical Credits
Prince Arranger, Composer, Producer
Bernie Grundman Mastering
Peggy McCreary Engineer
Don Batts Engineer
Bernie Mastering
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Customer Reviews

Average Rating 5
( 2 )
Rating Distribution

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    One of Prince's best

    This is required listening if you like Prince. Actually, this is required listening if you like music. Period. More ambitious than ''Controversy'' and perhaps better (I always thought that album was underrated), certainly funkier.

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  • Anonymous

    Posted October 1, 2010

    Attracts wide variety of music lovers

    This thirty-something white woman has enjoyed Prince for years. His mucical talent is unrivaled by any of todays Pop,Funk etc. bands. Entire album a solid hit, from '1999' to 'International Lover'. This listener strongly suggests you listen to this one.

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Sort by: Showing all of 2 Customer Reviews