— Samantha Fox
Prince's reputation has never been higher. His popularity and prominence took a dip in the nineties — his 1990 release Graffiti Bridge being his first album in ages that few seemed to care about — and using that silly symbol seemed like an act he'd never recover from but he came roaring back at some point after the millennium, the crowning achievement being his show-stealing solo on "While My Guitar Gently Weeps" in honour of George Harrison's posthumous induction into the Rock and Roll Hall of Fame in 2004. This performance wowed viewers at the time (even if some fellow musicians on stage seem less than excited by it) but it has YouTube to thank for its legend. And Prince was cool again. Then in 2016 he passed away and he went from living legend to god.
But if we shift back to when he was at his creative and commercial peak Prince wasn't always held in high esteem by everyone. Since Dave Rimmer awarded the Purple One with a "coveted" Single of the Fortnight back in 1983 with the still phenomenal "1999", many further new releases of his were reviewed in ver Hits. To say the results are mixed is probably a compliment to the little scamp with only William Shaw's critique of "Raspberry Beret" being mostly positive. Rimmer also had a crack at evaluating "Little Red Corvette", the follow-up to "1999", which he accuses of being too much of a Springsteen rip off while arguing that Prince is an "inconsistent chap". John Taylor isn't crazy about the heavier direction he seemed to be taking with "When Doves Cry", though he does acknowledge that Prince records take a while to grow on him. Andy Kershaw is unsparing in his derision for "Let's Go Crazy", even going so far as to have a go at the singer for being the "ugliest man in the world". (Though surely Kershaw has seen himself in the mirror, right?) Brookside's Simon O'Brien and Dave Gahan of Depeche Mode aren't especially fond of "Paisley Park" and "Kiss" respectively but the critic with the biggest ax to grind is Vici MacDonald. Having already slagged off both "Purple Rain" ("I know it's all supposed to be desperately steamy and sexy but, me, I remain unconvinced") and "Pop Life" ("Yaaaawn...Prince is sooo boring"), she tackles the recent single "Mountains" by generously reeling off all the many things to like and admire about the man before ultimately concluding that his latest isn't much cop at all.
Many will read MacDonald uncharitably — even though Kershaw's "analysis" is much, much worse than anything she ever wrote — but her feelings towards Prince often dovetail with my own. He was a true original, was musically curious, oozed talent and he didn't give a toss what anyone thought. That's stuff's all great, I just don't like at least half of his records. I've never cared much for his voice and I've never felt moved to any great extent by any of his songs. With so many things we're expected to appreciate about Prince, the only thing left wanting is his actual music.
With the critical blowtorch being taken to the likes of "Purple Rain", "When Doves Cry" and "Kiss", it's curious that he nabs a second SOTF with the relatively obscure "Anotherloverholeinyohead". The third single from Parade, the sort-of soundtrack to his recent film Under the Cherry Moon, its just-within-the-Top-40 chart performance was underwhelming though this was by no means unusual for him. Not unlike "I Would Die 4 U" and "Glam Slam", it doesn't pop up on compilations and is seldom discussed to any extent these days. While taster 45s from upcoming albums usually performed well, second, third and fourth singles often didn't and this one is no exception. It isn't even a standout on the pretty good Parade album: the minimalist funk grooves of "Kiss" and "Girl and Boys" and the stately "Sometimes It Snows in April" lay waste to this very unremarkable, Prince at his Princiest of songs.
So, what does Samantha Fox see in "Anotherloverholeinyohead" that it's worthy of a SOTF in her mind? Well, her review doesn't give away much, unless you're deeply interested in learning about how the Foxtress grew up listening to Prince's "really rude" records that she acquired from the flea market where her mum had a stall. She seems to genuinely love his music and it sounds like his records played no small part in her, shall we say, "development". While mentioning that she likes how he "changes the pitch in his voice" on this (has he really?) there's not much else to say. This could be any Prince single and she'd give it a glowing review, even if she manages not to say much about it.
But, then, what can she say about it? For someone so adventuresome and all over the place, this is very standard fare, the prototypical Prince single of the time: big piano chords, some slap bass, a refrain that is equal parts Rick James and Meat Loaf, loads of slinky vocals all over the shop. And all this would be perfectly fine if not for the rum tune and trite lyrics. The hooks don't draw the listener in and twisting a common English expression into song is never the best idea, even in the hands of someone so laughably capable. I suppose it's a credit to him that he can belch out something so inconsequential into a reasonable song but this ain't good enough for me. Good thing there's another Prince track that will be covered before long on here where us sceptics will once again be forced to eat crow.
But if we shift back to when he was at his creative and commercial peak Prince wasn't always held in high esteem by everyone. Since Dave Rimmer awarded the Purple One with a "coveted" Single of the Fortnight back in 1983 with the still phenomenal "1999", many further new releases of his were reviewed in ver Hits. To say the results are mixed is probably a compliment to the little scamp with only William Shaw's critique of "Raspberry Beret" being mostly positive. Rimmer also had a crack at evaluating "Little Red Corvette", the follow-up to "1999", which he accuses of being too much of a Springsteen rip off while arguing that Prince is an "inconsistent chap". John Taylor isn't crazy about the heavier direction he seemed to be taking with "When Doves Cry", though he does acknowledge that Prince records take a while to grow on him. Andy Kershaw is unsparing in his derision for "Let's Go Crazy", even going so far as to have a go at the singer for being the "ugliest man in the world". (Though surely Kershaw has seen himself in the mirror, right?) Brookside's Simon O'Brien and Dave Gahan of Depeche Mode aren't especially fond of "Paisley Park" and "Kiss" respectively but the critic with the biggest ax to grind is Vici MacDonald. Having already slagged off both "Purple Rain" ("I know it's all supposed to be desperately steamy and sexy but, me, I remain unconvinced") and "Pop Life" ("Yaaaawn...Prince is sooo boring"), she tackles the recent single "Mountains" by generously reeling off all the many things to like and admire about the man before ultimately concluding that his latest isn't much cop at all.
Many will read MacDonald uncharitably — even though Kershaw's "analysis" is much, much worse than anything she ever wrote — but her feelings towards Prince often dovetail with my own. He was a true original, was musically curious, oozed talent and he didn't give a toss what anyone thought. That's stuff's all great, I just don't like at least half of his records. I've never cared much for his voice and I've never felt moved to any great extent by any of his songs. With so many things we're expected to appreciate about Prince, the only thing left wanting is his actual music.
With the critical blowtorch being taken to the likes of "Purple Rain", "When Doves Cry" and "Kiss", it's curious that he nabs a second SOTF with the relatively obscure "Anotherloverholeinyohead". The third single from Parade, the sort-of soundtrack to his recent film Under the Cherry Moon, its just-within-the-Top-40 chart performance was underwhelming though this was by no means unusual for him. Not unlike "I Would Die 4 U" and "Glam Slam", it doesn't pop up on compilations and is seldom discussed to any extent these days. While taster 45s from upcoming albums usually performed well, second, third and fourth singles often didn't and this one is no exception. It isn't even a standout on the pretty good Parade album: the minimalist funk grooves of "Kiss" and "Girl and Boys" and the stately "Sometimes It Snows in April" lay waste to this very unremarkable, Prince at his Princiest of songs.
So, what does Samantha Fox see in "Anotherloverholeinyohead" that it's worthy of a SOTF in her mind? Well, her review doesn't give away much, unless you're deeply interested in learning about how the Foxtress grew up listening to Prince's "really rude" records that she acquired from the flea market where her mum had a stall. She seems to genuinely love his music and it sounds like his records played no small part in her, shall we say, "development". While mentioning that she likes how he "changes the pitch in his voice" on this (has he really?) there's not much else to say. This could be any Prince single and she'd give it a glowing review, even if she manages not to say much about it.
But, then, what can she say about it? For someone so adventuresome and all over the place, this is very standard fare, the prototypical Prince single of the time: big piano chords, some slap bass, a refrain that is equal parts Rick James and Meat Loaf, loads of slinky vocals all over the shop. And all this would be perfectly fine if not for the rum tune and trite lyrics. The hooks don't draw the listener in and twisting a common English expression into song is never the best idea, even in the hands of someone so laughably capable. I suppose it's a credit to him that he can belch out something so inconsequential into a reasonable song but this ain't good enough for me. Good thing there's another Prince track that will be covered before long on here where us sceptics will once again be forced to eat crow.
~~~~~
Also Reviewed This Fortnight
Paul McCartney: "Press"
One rock god phoning it in deserves another, eh? Well, not quite. Though far from a classic of old, this is a pretty decent number from Macca's supposed creative wane. Opening with some country-ish guitar playing, it quickly goes synthy. This was the beginning of Paul's decision to sound contemporary so he roped in 10cc Eric Stewart as a co-writer and Hugh Padgham on production. I'm sure getting the guy behind the desk of all those massive Phil Collins albums seemed like a good idea at the time but it has the ring of a middle-class, Live Aid direction. He would have been better off getting a real synth-pop producer like Trevor Horn or Stephen Hague in or he could have given "Press" a storming, Long Ryders country feel. Nevertheless, it's all likable enough though there's way too much going on. Dig the accompanying promo in which His Nibs takes the London Underground to the general delight and bemusement of the public. I gotta say I'm imPRESSed the whole thing doesn't seem staged. (See what I did there?)
One rock god phoning it in deserves another, eh? Well, not quite. Though far from a classic of old, this is a pretty decent number from Macca's supposed creative wane. Opening with some country-ish guitar playing, it quickly goes synthy. This was the beginning of Paul's decision to sound contemporary so he roped in 10cc Eric Stewart as a co-writer and Hugh Padgham on production. I'm sure getting the guy behind the desk of all those massive Phil Collins albums seemed like a good idea at the time but it has the ring of a middle-class, Live Aid direction. He would have been better off getting a real synth-pop producer like Trevor Horn or Stephen Hague in or he could have given "Press" a storming, Long Ryders country feel. Nevertheless, it's all likable enough though there's way too much going on. Dig the accompanying promo in which His Nibs takes the London Underground to the general delight and bemusement of the public. I gotta say I'm imPRESSed the whole thing doesn't seem staged. (See what I did there?)
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