Fate intervenes… and the O(+> Album

Naturally, it took me a few extra minutes to get into the album because I was still in chat when I was listening to “My Name is Prince.” My mind was still reeling about the latest development of my attempting to commit the craziest act of my lifetime as a Prince enthusiast (that’s my new label for myself). I’m thinking now that this will be among the last posts where I’ll allow myself to go completely into the albums and say exactly what comes to mind. Given that I have something on the way to Paisley Park, I’ll have to behave myself on my own blog or else Prince’s people will think I’m some sort of psycho and will give them another reason to torch my manuscript so it won’t fall into his hands.

Anyway, over to the album.
I was thinking about the idea I started coming up with during my listen the other day. It’s almost like he does get more and more personal as the album goes on and there are different storylines where one ends, another begins. So I’ll do it one storyline at a time.


“My name is Prince” through “The Max”
[I thought “Computer Blue” was plural and I thought “The Morning Papers” was singular, go figure.]

Prince bursts onto the scene, stating who he is, what he’s all about and he uses the NPG to state who he is with them. With his band, he’s a completely different person than he is with his girlfriends. The second song is where he is still playing the act to his NPG buddies where he spots a girl and talks about her like she’s a piece of meat.
“Love 2 the 9’s,” though not the hit it was yesterday, still proved to be very romantic, especially when he slips back into the question “will u love me 2 the 9’s and for all time?” and continues the falsetto he started with. The last note he sings in this song has to be one of my favorites where he goes from falsetto to his natural singing voice and down to his lowest range in one straight shot. That’s talent and it sounds really cool. 😎
“The Morning Papers” also didn’t show the same spark that it did yesterday. I think because my attention was divided over my second guessing stint earlier. Though I gotta say this for it: here he uses the guitar in such a way that it sounds like he’s making it sing, no joke. Some of the most beautiful guitar he’s ever played, I believe.
“The Max” was the point where I was starting to enjoy myself and stop worrying so much about the whole thing. I believe it has a 99% guarantee of having a good time. I need to compare notes with another song, though. Max Martin, who I’ve attacked for stealing Prince’s lyrics for a Backstreet Boys song, if he had written the *NSYNC song “I want you back” also, he’s got hell to pay, I can say that much. I could very well have to attack him for stealing MUSIC. Lyrics are one thing, but when you’re stealing Prince’s music, that’s cause for a riot. I’ve got to research that just to be sure if he was the one who wrote “I want you back.”
Okay, I’m done with my usual rant against my former favorite artists’ writers. All I can say that comes to mind is Mayte dancing and doing her thing while Prince is playing keyboards during those solos. His vocals here are among my favorite variety because to me, they say “Prince.” I identify him with vocals like that. And those kinds of vocals never fail to make me smile.

Now, the cut off for the next part of the album, I’m not really sure where I want to do it. I know I want to put Continental & Damn U together. Sweet Baby might stand alone. Okay, I don’t really have much of a storyline going on here, but at least two songs are connected at most.

Shaky storyline: “Blue light” thru “Damn U”

“Blue Light,” I’m not so sure if I can say much more it. I doesn’t really go with any of the other songs or fit into the overall storyline.
“Eye wanna melt with you” seems like the answer to the previous song, “getting wild” again. I could be either or a new dance craze (“Le Grind” was on my mind earlier for some unknown reason) or its just his way of talking about his favorite subject :hint hint:. I get so into this song because his vocals make one wanna do what the title suggests. As soon as he starts whispering about the “quivery ocean,” I’m just gone, case closed.
“Sweet baby,” was actually a time when I was reconsidering my situation. I was thinking about my intention to send this package, but more about what’s going to happen to it, to something I put my heart and soul into. I looked over the letter I enclosed in the envelope again (I had accidentally printed it on both sides of the paper when I wanted to put poetry on the other side). Trying to find out how much I had written about my being a writer. I didn’t put down how many manuscripts I have lying around, but I did say that writing was something I’ve been doing since age 13, that I write novels and that he has inspired me as a writer. I could almost picture the possibility that Prince would get the letter, read it, then look at the work enclosed in the envelope. Then I could picture him thinking that I should have this back so I can publish it. Maybe in an attempt to protect me, he’ll send it back. I mean, him sending it back means that he did see it, right? Seems a little crazy that I’m sending something to him hoping for him to send it back to me, but you never know with Prince. I was feeling much better with this reassurance of my prediction that I was enjoying the rest of the album not caring about any external forces.
“Continental” started slow, but once he got to the bridge, my mind was completely taken in by the excitement. One of the most contagious songs from the album, but also from his whole repertoire. This also doesn’t have relevance to the big picture, neither does the song before it. The cool thing he does here is that he takes a completely ego-driven song and then turns it around in the last couple of minutes and makes it about the woman and what she wants. He turns over control and when he does that, can’t help but like him for it. Like him a lot.
“Damn U” is smooth as silk from start to finish. Then when he sings the lyrics “come to think about u baby, ur my own only need,” his delivery of this line makes him irresistible and this continues through the rest of the song.

Final three: 7, God Created Woman & Sacrifice of Victor
There’s no storyline between these three, though  the first 2 are full of Bible references.

Something started to happen while listening to “7.” I just left go of whatever I was thinking during my last listen and it was almost as if I could picture Prince in the studio recording this song as well as performing it in a video. I still haven’t found the video for this song, but I can’t wait to see it when I do. Almost as if I had connected with him so I could read his mind at the time of its recording. And when that happens, it’s a pretty cool feeling.
“God created woman” continues that Stevie Wonder-esque vibe with the keyboards or whatever that instrument is. Then with his vocals, it continued that connection where I could look into his mind and almost like I could see his heart within the music. That’s what happened in that one truly meaningful dream I had with him in it. The message I got from it was to look for his heart within the music so I can truly understand him as an artist. Here he truly shows the artistic nature of his voice, truly beautiful in so many places.

“The Sacrifice of Victor” I still don’t really understand where it fits into the storyline. But I still enjoy it a lot. It’s up there with “The Max” and “Continental” because it never fails to make me smile. Here, he uses the NPG to its full potential with the vocals and I enjoy singing along with it so much. It’s so much fun, I cannot say that enough.

I can’t wait to see what else I’ll find in this album, but I think I’ll still wait quite a while before I check out my new resource to see what it has to say about the album. Right now, it feels like I’m getting to see Prince in a way I haven’t seen him in a long time. Almost like the return of an old friend.

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