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Editorial Reviews
Amazon.com
Because it would be un-Prince-like to release a new studio album without kicking up a little controversy first, the Artist Formerly Known As a Cool-Looking Symbol gave away copies of Planet Earth with a British news tabloid weeks before its U.S. release. Among the reasons he shouldn't have: nobody who catches wind of the peerless funk-rock-soul he lays out on these 10 tracks--least of all longtime fans--would think twice about shelling out for it. A big chunk of the appeal is that Prince finds his way back to his guitar here. The title track, a politically right-on-time environmental rant, steers him back toward "Purple Rain" territory, as does "Lion of Judah" ("Guitar," oddly, doesn't--it's more of a straight-up, shout-it-out modern rocker). And the flirty numbers are seriously flammable: "Somewhere Here on Earth" seduces with a crackly jazz vibe, while "Mr. Goodnight" gets friendly with a refined slip of rap. Coolest of all are two tracks at cross purposes-- "Chelsea Rodgers" fuses funk with disco until it's so far off the hook it's in a heap on the floor, and "All the Midnights in the World" paints a picture of artistic maturity through piano and lyrics that lean hard on positivity. There's an elegance to it that Prince fans, no strangers to pop music that's truly sublime, won't fail to appreciate. --Tammy La Gorce
Product Description
Simply put, Planet Earth is the album longtime Prince fans have been waiting for. Several cuts on this album revisit some of the classic Prince sound the captured fans all over the world and helped deem him an incomparable music icon. Superstar and legendary musician prince kicked off 2007 with a show stopping Super Bowls Half-time performance. Prince pulled out all the stops during the second most-watched super bowl broadcast ever. With an estimated 93.2 million viewers to entertain, Prince wasted no time showing off his stages powers and irrefutable guitar skills. He masterfully captured the attention and respect of music fans in general, while sending a message to long time Prince fans that he was ready to once again reign supreme.
Customer Reviews
Most Helpful Customer Reviews
16 of 17 people found the following review helpful
By nodice
Format:Audio CD
...because we're the only ones that will put up with such mediocre tripe from a man who knows better. First let me say that I love Prince, even when I chunk money down for stuff that should have never had a price tag on it. Not everything that pops in your head needs to be set to music. Overall, I like three songs on this: Guitar, Somewhere here on earth and Mr. Goodnight. Lyric wise: I could have written The one U want to C-probably like in the Junior High. Prince is very good writing senusal lyrics, but whenever he starts his political agenda stuff, it suddenly sounds juvenile and campy. Like: Planet Earth and Resolutions. He truely could have kept : All the midnights in the world. It's only tolerable because it's so short. While he's waxing proses about the problem with wars and people, I think the problem with telling certain people that they are musical geniuses is that they start slacking off and start pasting weak lyrics on recycled beats. Sorry, but some of these songs sound eerily familar. Still, I'm a sucker for my 80s icon and I'll continue to follow his music journey. Overall, get for your collection, but try to get yourself one of those free copies if you can.
10 of 11 people found the following review helpful
Format:Audio CD
I should begin this review by telling you what I was expecting from Planet Earth: not much. I've learned several painful lessons over the last 12 years, from various Prince stinkers (Stink-os & Disorder, Rave Un2 The Stink Fantastic, The Rainbow Stink), but the main lesson is this: Prince's fastball ain't what it used to be. I can accept that now. There was a time when I couldn't accept that, a time when I proclaimed Emancipation to be the greatest album of the 90s, and in fact as good as Purple Rain.
Now I'm older and hopefully more mature (though I did throw on Emancipation one more time the other night, still searching for that greatness I thought I once heard). After the horrific artistic crime that was The Rainbow Children, I officially gave up on Prince. It was SO CLEARLY OVER. And everyone knew it but pointy-headed critics and him.
But of course, as a fan I never stopped hoping. When Musicology came out, of course I bought it. However, I waited two whole months instead of rushing right out to get it. As an album, Musicology was definitely an improvement (which is like saying North is better than When I Was Cruel), but overall it was not a good album. I listened to it for a week and then put it away, saying he had gone away from pretentious concept junk and was back to putting out bland junk.
However, two songs did stick in my mind: "Call My Name", and "What Do You Want Me 2 Do?" Those two diamonds in the dogpile did provide a flicker of hope. And let me tell you, those two songs are as good as anything Prince has ever done (so is 1+1+1 Is 3, but it's on The Rainbow Children and that album is a total affront). There was something else, too, but I couldn't figure out what it was, and I didn't want to revisit "Illusion, Coma, Pimp & Circumstance" ad nauseum.
Then came 3121, which is easily Prince's best album in a long time, since his acoustic "The Truth" CD that accompanied his 3-CD Crystal Ball. Then I understood. With Musicology, 3121, and now Planet Earth, he has stopped trying to say, "I'm brilliant." He is now trying to say, "Play this song, you'll like it." That's a good move.
He is now Radio-Friendly Prince, the good company man that Warner Bros. has always wanted him to be. No fake voices, no weird and ultimately dumb interludes between songs between characters in slowed-down voices. Just a collection of 10-12 songs clocking in at under 45 minutes, designed to go Top Ten.
Now Planet Earth finds him once again content to follow trends as opposed to setting them. And you know what? I'm actually ecstatic about that. So while Planet Earth represents Prince running in place, as opposed to the quantum leap in quality that was 3121, for Prince that's a bit of a victory. It means I still have some hope for the next album (which I pray won't be released until 2010).
Planet Earth careens dangerously toward the bland, and initially I dismissed it. But "Mr. Good Night", "Guitar", and "Chelsea Rodgers" all find Prince in fine form. Even the token "Arms Of Orion" cut (named for his worst song on the album) isn't utterly skippable, the way "Te Amo Corazon" was on 3121. On Planet Earth, the "Arms Of Orion" Badtastic Song Award goes to "All The Midnights In The World".
But in the end, this is not the album for newcomers to Prince to start with. And while I'm still in the Prince Artistic Desert, I'm now seeing vegetation as opposed to sand and rocks. I may never discover water again, but for the first time my hope has not yet been shaken.
And that next Prince album? I'll be buying it the day it comes out.
Now I'm older and hopefully more mature (though I did throw on Emancipation one more time the other night, still searching for that greatness I thought I once heard). After the horrific artistic crime that was The Rainbow Children, I officially gave up on Prince. It was SO CLEARLY OVER. And everyone knew it but pointy-headed critics and him.
But of course, as a fan I never stopped hoping. When Musicology came out, of course I bought it. However, I waited two whole months instead of rushing right out to get it. As an album, Musicology was definitely an improvement (which is like saying North is better than When I Was Cruel), but overall it was not a good album. I listened to it for a week and then put it away, saying he had gone away from pretentious concept junk and was back to putting out bland junk.
However, two songs did stick in my mind: "Call My Name", and "What Do You Want Me 2 Do?" Those two diamonds in the dogpile did provide a flicker of hope. And let me tell you, those two songs are as good as anything Prince has ever done (so is 1+1+1 Is 3, but it's on The Rainbow Children and that album is a total affront). There was something else, too, but I couldn't figure out what it was, and I didn't want to revisit "Illusion, Coma, Pimp & Circumstance" ad nauseum.
Then came 3121, which is easily Prince's best album in a long time, since his acoustic "The Truth" CD that accompanied his 3-CD Crystal Ball. Then I understood. With Musicology, 3121, and now Planet Earth, he has stopped trying to say, "I'm brilliant." He is now trying to say, "Play this song, you'll like it." That's a good move.
He is now Radio-Friendly Prince, the good company man that Warner Bros. has always wanted him to be. No fake voices, no weird and ultimately dumb interludes between songs between characters in slowed-down voices. Just a collection of 10-12 songs clocking in at under 45 minutes, designed to go Top Ten.
Now Planet Earth finds him once again content to follow trends as opposed to setting them. And you know what? I'm actually ecstatic about that. So while Planet Earth represents Prince running in place, as opposed to the quantum leap in quality that was 3121, for Prince that's a bit of a victory. It means I still have some hope for the next album (which I pray won't be released until 2010).
Planet Earth careens dangerously toward the bland, and initially I dismissed it. But "Mr. Good Night", "Guitar", and "Chelsea Rodgers" all find Prince in fine form. Even the token "Arms Of Orion" cut (named for his worst song on the album) isn't utterly skippable, the way "Te Amo Corazon" was on 3121. On Planet Earth, the "Arms Of Orion" Badtastic Song Award goes to "All The Midnights In The World".
But in the end, this is not the album for newcomers to Prince to start with. And while I'm still in the Prince Artistic Desert, I'm now seeing vegetation as opposed to sand and rocks. I may never discover water again, but for the first time my hope has not yet been shaken.
And that next Prince album? I'll be buying it the day it comes out.
69 of 94 people found the following review helpful
Format:Audio CD
Prior to "Planet Earth," the last Prince album I can say I liked (or at least kinda liked) was "Rave Unto the Joy Fantastic." The last two ("3121" and "Musicology") - though obviously both commercial comebacks - did next to nothing for me. They were just more additions to the growing list of disjointed, thrown-together sub-par works that Prince began releasing back in '94 with "Come" (though not including every album after that, just that the good ones were less and less frequent). I distinctly remember how distressing it was for an artist who was responsible for such a long line of carefully crafted albums to expect record buyers to be satisfied with willful sloppiness. Sure, with "Come" (and others) he was hurrying to get out of his Warner's contract - but all these years after the fact, what matters is the music...not his fued with the label. I continue to maintain that he hasn't released a truly great album since 1992's 'Symbol' album (and even that one was flawed, i.e. Tony M was still on board). And I still say that "The Truth" (i.e. disc 4 of "Crystal Ball") is the closest he's come to that greatness in the years since.
All that said, I'll reiterate: I like this new album. It turned out to be a nice surprise - not a major return to form, but a mostly consistently enjoyable collection of new songs. Are they all new? It's hard to say - I do have trouble believing all the musicians who are credited in the album's sparse (nearly non-existant, truth be told) liner notes turned up for recent sessions. Some of this music was quite possibly in the can for many years - the wildly varying tone, and overall sound, throughout the album supports this idea. Before delving into a song-by-song look, I'll summarize my overall feelings. The focus here seems to be tight, concise pop songwriting. Prince used to break boundaries and take chances with song form, but since those days seem long gone I'm satisfied to hear relatively straightforward songs containing strong melodies and memorable hooks. It's far preferable to the aimlessness of recent sludge like "3121" and "Musicology." I also like hearing so many guitar solos - much more than anything since "Chaos and Disorder" way back in 1996. Throughout "Planet Earth," there are lots of little musical surprises and quirks - unexpected chord changes, unpredictable melodic twists, unusual backing vocal arrangements. No, it's not "Lovesexy" revisited by any means, but it keeps the listener from being bored to tears (like the last couple of albums did).
To be more specific, take the opening - and also title - track. On a musical level, "Planet Earth" sounds very much to me like the Prince of old. The plaintive - though highly dramatic - verses that give way to swelling choruses, ultimately climaxing with a passionate guitar solo: it's a full-fledged epic Prince track (bold move to open the record with what sounds like a big finish). The piano/synth/backing-vocals section midway through sounds the vintage late-80s era. Lyrically, I'm less enthusiastic. Prince didn't used to be so literal when tackling "big issues." Here - not surprisingly, given the title - he deals mainly with the fragility of our ecosystem. Sorry, but no celebrity can escape the hypocrisy charge when lamenting the mistreatment of the atmosphere while simultaneously boasting of private jets traveling the four corners of the globe. Prince, how big is your carbon footprint? In the final verse, he sings about sending off young soldiers to fight a war, asking "If they're blessed to make it home, will they still be poor?" I'm not exactly sure what he's implying about the financial status of the armed forces. I'm also a bit confused about something: in this song, and elswhere on the album, the lyrics do get a tad bit political. I was under the impression that Jehovah's Witnesses remain strictly apolitical. How can he include this type of subject matter without violating that belief? I'm not taking any shots at his religion, I'm just genuinely curious about this seeming contradiction.
"Guitar" takes us back to the mid-90s NPG sound, "Undertaker" style. I wouldn't be surprised if that's Michael B kicking it on this rock track. Many have mentioned it - and 'I will follow' their lead (get it?) - the main riff sounds like a certain early U2 song. Once you accept that, the song is a fun rocker with some good solos and a light-hearted lyric (what a relief after the pretentions of the first song's message).
"Somewhere Here On Earth" starts off with a hokey 'scratchy record' sound, apparently signaling it's 'old school' balladry. There's also a bit of cringe-worthiness in the lyric, "In this digital age, you could just page me/I know it's the rage." Um, really? I don't know many people who still carry around pagers - but I guess "You could just text me" didn't rhyme as well. Or it could suggest this song's been in the vault for a few years. That wouldn't be a stretch, as it sounds like it could've been on just about any album from "Around the World In a Day" onward - which I mean in the best way: it's a very good falsetto ballad in the classic Prince mold. A tad overlong, though, at nearly 6 minutes, as no new ideas are introduced to justify the length.
Things get even better with "The One U Wanna C" - a straight-ahead pop tune with a subtle, yet comfortable, countryish twang. Again, this sounds so unlike anything Prince has done in years I can't help but wonder if he pulled it out of the vault. As lightweight as it is, I love everything about it - except for the line "I ain't trying to be a hater" (which is the first of several instances of Prince forcing some 'modern' slang into his lyrics). I do like that he sings "I come like thunder" and "If u wanna get creamy" because it proves that the JW's didn't shut down the innuendo completely.
Uh-oh -- Prince gets all lover-man in "Future Baby Mama" -- and there's another (obvious) example of that 'modern' slang. Building a song around the phrase "baby mama" wasn't a great idea, even if he did break out the Linn for this one (which isn't all that exciting anyway - he was trying to evoke the old days in the exact same way back on "Rave Unto the Joy Fantastic" back in '99!). Still, it ain't an entirely unpleasant sounding song, but it feels very out of place in context of the four songs that preceded it. Maybe the course will be corrected shortly...
...in a word, no. "Mr. Goodnight" sounds like it could've been on ANY "Emancipation"-onward album. It's a sort-of rap song, and I hoped he was done with that kind of thing. Suddenly the vibe of the album has been completely altered, and necessarily in a good way. Not that I don't love the funky R&B that has been Prince's bread and butter his entire career - I most certainly do. But this generic-sounding stuff evokes "New Power Soul" more than "Sign O the Times"...or even "Diamonds & Pearls" for that matter. In fact, songs like "Come On" and "Shoo-Be-Do" from that 1998 disappointment ("New Power Soul") KILL this "Mr. Goodnight" bit of indulgence. Oh well, at least it DOES have the funniest food reference in a Prince song since the immortal "Cap'n Crunch with soy milk."
"All the Midnights In the World" - short, but oh so sweet. My favorite track, and it clocks in at just 2 minutes, 21 seconds. THIS is classic Prince pop: idiosyncratic lyrics, melodically inventive, captivating vocal performance. Can this possibly be a new song? Or is this some lost "Dream Factory"-era track? It's so fantastic I can't really explain it. Who but Prince would include a reference to Zuzu's pedals from "It's a Wonderful Life"? I love this: "Amethyst and rubies, crystals and black pearls/I'd trade them all just to spend with you/All the midnights in the world." I don't usually use words like splendiferous, but it truly applies to this gem of a song.
Nowhere to go but down, I guess, after such a natural high - but "Chelsea Rogers" is actually a pretty entertaining dance track nonetheless. It's a funky disco-style song, sung along with a husky-voiced woman (reminded me of Mavis right at the beginning). It doesn't really DO all that much in nearly 6 minutes (one of only three tracks that push past 5 minutes). It's about the same length as the title track, yet unlike that well-structured epic, it wears out it's welcome after the halfway point. I haven't really bothered to figure out if the lyrics, which apparently concern a real-life fashion model, tell a coherent story.
"Lion Of Judah" brings it back to guitar-oriented rock. It's grown on me over repeated listenings, though I'm not sure what he's getting at in the lyrics. Sure sounds like something was on his mind though. A failed relationship, it would seem - one that he didn't want to end, and felt ended in the midst of miscommunication...leaving him seeking some sort of revenge? I don't know really, but I like the guitar playing.
"Resolution" - bouncy up-tempo pop, kinda like a less corny "Graffiti Bridge." Also kinda like the opening track: I like it musically, I'm less wild about the lyrics. It's actually a good bookend - both songs tackle "big issues," albeit in a clumsy way. I really like the melody, the simple arrangement, and especially the backing vocals. But spelling out the world's problems in less than four minutes is a tough order for anyone. Actually, in the final verse ("Love is like a circle, no beginning and no end..") he has the right idea - keep it a bit vague, rather than trying to specifically explain the "main problem" with war (that no one ever wins) and with people (that they never do what they say). In fact, his reasoning is incorrect in both cases, so why bother trying to cover so much ground in one song? Read more ›
All that said, I'll reiterate: I like this new album. It turned out to be a nice surprise - not a major return to form, but a mostly consistently enjoyable collection of new songs. Are they all new? It's hard to say - I do have trouble believing all the musicians who are credited in the album's sparse (nearly non-existant, truth be told) liner notes turned up for recent sessions. Some of this music was quite possibly in the can for many years - the wildly varying tone, and overall sound, throughout the album supports this idea. Before delving into a song-by-song look, I'll summarize my overall feelings. The focus here seems to be tight, concise pop songwriting. Prince used to break boundaries and take chances with song form, but since those days seem long gone I'm satisfied to hear relatively straightforward songs containing strong melodies and memorable hooks. It's far preferable to the aimlessness of recent sludge like "3121" and "Musicology." I also like hearing so many guitar solos - much more than anything since "Chaos and Disorder" way back in 1996. Throughout "Planet Earth," there are lots of little musical surprises and quirks - unexpected chord changes, unpredictable melodic twists, unusual backing vocal arrangements. No, it's not "Lovesexy" revisited by any means, but it keeps the listener from being bored to tears (like the last couple of albums did).
To be more specific, take the opening - and also title - track. On a musical level, "Planet Earth" sounds very much to me like the Prince of old. The plaintive - though highly dramatic - verses that give way to swelling choruses, ultimately climaxing with a passionate guitar solo: it's a full-fledged epic Prince track (bold move to open the record with what sounds like a big finish). The piano/synth/backing-vocals section midway through sounds the vintage late-80s era. Lyrically, I'm less enthusiastic. Prince didn't used to be so literal when tackling "big issues." Here - not surprisingly, given the title - he deals mainly with the fragility of our ecosystem. Sorry, but no celebrity can escape the hypocrisy charge when lamenting the mistreatment of the atmosphere while simultaneously boasting of private jets traveling the four corners of the globe. Prince, how big is your carbon footprint? In the final verse, he sings about sending off young soldiers to fight a war, asking "If they're blessed to make it home, will they still be poor?" I'm not exactly sure what he's implying about the financial status of the armed forces. I'm also a bit confused about something: in this song, and elswhere on the album, the lyrics do get a tad bit political. I was under the impression that Jehovah's Witnesses remain strictly apolitical. How can he include this type of subject matter without violating that belief? I'm not taking any shots at his religion, I'm just genuinely curious about this seeming contradiction.
"Guitar" takes us back to the mid-90s NPG sound, "Undertaker" style. I wouldn't be surprised if that's Michael B kicking it on this rock track. Many have mentioned it - and 'I will follow' their lead (get it?) - the main riff sounds like a certain early U2 song. Once you accept that, the song is a fun rocker with some good solos and a light-hearted lyric (what a relief after the pretentions of the first song's message).
"Somewhere Here On Earth" starts off with a hokey 'scratchy record' sound, apparently signaling it's 'old school' balladry. There's also a bit of cringe-worthiness in the lyric, "In this digital age, you could just page me/I know it's the rage." Um, really? I don't know many people who still carry around pagers - but I guess "You could just text me" didn't rhyme as well. Or it could suggest this song's been in the vault for a few years. That wouldn't be a stretch, as it sounds like it could've been on just about any album from "Around the World In a Day" onward - which I mean in the best way: it's a very good falsetto ballad in the classic Prince mold. A tad overlong, though, at nearly 6 minutes, as no new ideas are introduced to justify the length.
Things get even better with "The One U Wanna C" - a straight-ahead pop tune with a subtle, yet comfortable, countryish twang. Again, this sounds so unlike anything Prince has done in years I can't help but wonder if he pulled it out of the vault. As lightweight as it is, I love everything about it - except for the line "I ain't trying to be a hater" (which is the first of several instances of Prince forcing some 'modern' slang into his lyrics). I do like that he sings "I come like thunder" and "If u wanna get creamy" because it proves that the JW's didn't shut down the innuendo completely.
Uh-oh -- Prince gets all lover-man in "Future Baby Mama" -- and there's another (obvious) example of that 'modern' slang. Building a song around the phrase "baby mama" wasn't a great idea, even if he did break out the Linn for this one (which isn't all that exciting anyway - he was trying to evoke the old days in the exact same way back on "Rave Unto the Joy Fantastic" back in '99!). Still, it ain't an entirely unpleasant sounding song, but it feels very out of place in context of the four songs that preceded it. Maybe the course will be corrected shortly...
...in a word, no. "Mr. Goodnight" sounds like it could've been on ANY "Emancipation"-onward album. It's a sort-of rap song, and I hoped he was done with that kind of thing. Suddenly the vibe of the album has been completely altered, and necessarily in a good way. Not that I don't love the funky R&B that has been Prince's bread and butter his entire career - I most certainly do. But this generic-sounding stuff evokes "New Power Soul" more than "Sign O the Times"...or even "Diamonds & Pearls" for that matter. In fact, songs like "Come On" and "Shoo-Be-Do" from that 1998 disappointment ("New Power Soul") KILL this "Mr. Goodnight" bit of indulgence. Oh well, at least it DOES have the funniest food reference in a Prince song since the immortal "Cap'n Crunch with soy milk."
"All the Midnights In the World" - short, but oh so sweet. My favorite track, and it clocks in at just 2 minutes, 21 seconds. THIS is classic Prince pop: idiosyncratic lyrics, melodically inventive, captivating vocal performance. Can this possibly be a new song? Or is this some lost "Dream Factory"-era track? It's so fantastic I can't really explain it. Who but Prince would include a reference to Zuzu's pedals from "It's a Wonderful Life"? I love this: "Amethyst and rubies, crystals and black pearls/I'd trade them all just to spend with you/All the midnights in the world." I don't usually use words like splendiferous, but it truly applies to this gem of a song.
Nowhere to go but down, I guess, after such a natural high - but "Chelsea Rogers" is actually a pretty entertaining dance track nonetheless. It's a funky disco-style song, sung along with a husky-voiced woman (reminded me of Mavis right at the beginning). It doesn't really DO all that much in nearly 6 minutes (one of only three tracks that push past 5 minutes). It's about the same length as the title track, yet unlike that well-structured epic, it wears out it's welcome after the halfway point. I haven't really bothered to figure out if the lyrics, which apparently concern a real-life fashion model, tell a coherent story.
"Lion Of Judah" brings it back to guitar-oriented rock. It's grown on me over repeated listenings, though I'm not sure what he's getting at in the lyrics. Sure sounds like something was on his mind though. A failed relationship, it would seem - one that he didn't want to end, and felt ended in the midst of miscommunication...leaving him seeking some sort of revenge? I don't know really, but I like the guitar playing.
"Resolution" - bouncy up-tempo pop, kinda like a less corny "Graffiti Bridge." Also kinda like the opening track: I like it musically, I'm less wild about the lyrics. It's actually a good bookend - both songs tackle "big issues," albeit in a clumsy way. I really like the melody, the simple arrangement, and especially the backing vocals. But spelling out the world's problems in less than four minutes is a tough order for anyone. Actually, in the final verse ("Love is like a circle, no beginning and no end..") he has the right idea - keep it a bit vague, rather than trying to specifically explain the "main problem" with war (that no one ever wins) and with people (that they never do what they say). In fact, his reasoning is incorrect in both cases, so why bother trying to cover so much ground in one song? Read more ›
Most Recent Customer Reviews
5.0 out of 5 stars
Great album
This is one of my favorites!!! and I recomend it to anyone. Great purchase for me and my family and friends.
Published 3 months ago by A Prince music lover
5.0 out of 5 stars
Radio Should Have Been All Over This
Put simply- I can not stop playing this album. From start to finish it is Prince at his best period. EVERY track can be repeated.
Published on September 27, 2010 by Thomas
5.0 out of 5 stars
One of his best.
I only have a minute but felt the need to endorse this Princely masterpiece. Many of the songs are sublime upon the first hearing and the rest grow on you like a velvety purple... Read more
Published on August 12, 2010 by R.M. Enslow
4.0 out of 5 stars
Grade: B+
One thing I can say about this album is it's definitely diverse. "Planet Earth" and "Lion of Judah" are both rock songs; "Guitar" and "The One U Wanna C" are dance-rock songs; "Mr. Read more
Published on May 24, 2010 by Austin
2.0 out of 5 stars
As long as he's having fun..
Thats all that matters. The fluff-piece that is "Guitar" cruelly fades out just as he's starting an all-out assault with his Strat, another track has a glint of the Linn LM-1. Read more
Published on December 21, 2009 by Cliff
3.0 out of 5 stars
Buying Prince
I love Prince, so I tried to buy all his music. I always find some song I can't live without. This time was not the case. Read more
Published on August 4, 2009 by B.B. Barbie
2.0 out of 5 stars
Hearing himself
2 1/2
It's always sad to see once vital artists trail off into irrelevance, and although Prince has aged more gracefully than many of his long standing peers, it is... Read more
It's always sad to see once vital artists trail off into irrelevance, and although Prince has aged more gracefully than many of his long standing peers, it is... Read more
Published on July 19, 2009 by IRate
4.0 out of 5 stars
Prince is still amazing
I recently got this and several other post-2000 Prince cd's. Each and every one of them floats my boat, this included. Read more
Published on May 27, 2009 by P. Pennington
4.0 out of 5 stars
Still I wonder: is he talking about an actual guitar, or ... ?
Prince still sounds like he did when he was 25, and he's still interested in the same things--namely sex, God, and music. Read more
Published on April 8, 2009 by Tom Benton
4.0 out of 5 stars
Another CD to love...
I love this cd. I think it's definitely soul searching for him, almost therapeutic. I like that the music is so diverse.
Published on March 24, 2009 by M. Rigdon
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