PRINCELY TIMES

He was once described as "the most complete rock star there is". Other perspectives have included workaholic, perfectionist, narcissist, introvert and control freak. He sang constantly about sex before becoming a Jehovah’s Witness. Between 1980 and 1988 he released an astonishing eight albums; nine if you count the Batman soundtrack and ten if the unreleased Black Album is included. Holed up in a giant recording studio cum mansion, he played dozens of instruments and wrote hundreds of songs. He was Prince Rogers Nelson and his death from an accidental overdose of painkillers in April 2016 sent shockwaves through the music world.

That incredible work ethic and prolific output was matched by a hunger to synthesise diverse styles of music into a cohesive, Princely whole. As well as the obvious James Brown and Marvin Gaye influences, there is a love of rock (Little Richard) and a delight in song craft (Stevie Wonder). Prince admired Sly and the Family Stone and soul great Jackie Wilson while having his own unique take on the gospel tradition. He grew up with disco and loved synth pop. All this diversity is displayed on his outstanding1987 double album, Sign O’ The Times.

Beginning with the sparse electro-funk of "Sign O’ The Times", Prince slides open the doors to a sprawling sixteen song set with a lyric about poverty and struggle. This downbeat yet mesmerising opener sounds like a union of Marvin Gaye (What’s Goin’ On era) and Kraftwerk. The very next song—the upbeat "Play In The Sunshine"—demonstrates the confidence of the artist still known as Prince. It’s just so bouncy and up, yet layered with everything from playground sounds through a muted guitar solo to a percussion workout and a nursery rhyme coda. This is a musician playing with a full deck of musical and production tricks. "Housequake" is next and its odd Devo/James Brown hybrid rocks its high-heeled boots off. Side one closes with "The Ballad of Dorothy Parker" which, amongst other things, quotes Joni Mitchell. If you are wondering, "How diverse is this freakin’ album?" the answer is simple. Very. It is diverse in just the same way that great double albums are often a constellation of treasures—we’re talking The White Album, London Calling, Songs In The Key Of Life. Yes, it’s that good.

One of the key aspects of Sign O’ The Times is Prince’s use of the Fairlight digital synthesiser. This Australian computer musical instrument allowed sampling of sounds and  almost endless options for manipulating those samples. The Purple One used it to shift the pitch of his voice, creating the much higher "female" vocals of his alter ego "Camille", heard on "Housequake", the squirmy "If I Was Your Girlfriend" and the frankly disturbing "Strange Relationship".

Yet for all the shallow relationships ("Hot Thing"), obsession with sex ("It") and themes of urban decay, Sign O’ The Times has moments of beauty and passion. "Slow Love", despite being about sex (yet again), is a super ballad while "The Cross" explodes with psychedelic guitar. "Adore", the closing track, is swooningly rich.

At the end of the day, Sign O’ The Times makes a strong case to be considered Prince’s magnum opus. All his characters are present: priapic satyr, pious believer, crooner, rocker, guitar hero, curious yet removed observer of the human condition. All his skills are visible too: composer, arranger, multi-instrumentalist, band leader, pop craftsman, visionary producer. As a footnote, if two records aren’t enough to slake your thirst, there is a four LP version and a Super Deluxe Edition too, on vinyl or CD. Such choice. It’s a sign of the times.

© Bruce Jenkins 2022