Prince’s Best Songs
It’s time to pull off the highway and explore lesser known routes where Prince’s truly best music lives. This is Goldie’s personal playlist of the Purple Reign and favourite Prince tracks, reviewed in chronological order. They may not be Prince’s iconic classics or commercial hits, but if you are new to Prince and looking for top-tier songs that are not necessarily the obvious choices this is a selection of his best of the rest.
Prince's best songs reviewed 61
Just As Long As We're Together
For You • Warner Bros. Records • 1978
Single
Just As Long As We’re Together is the place Prince’s roots are to be found. Throwing in a six-minute track on a debut album requires immense talent and self confidence. But get this, Prince who was just eighteen when he recorded it, lays down a disco track on which he sings and plays every single instrument. Then, after the three min opening he slides into a three-min outro packed with vigour and dexterity – why? Because he could. The closing portion is a reworking of an instrumental from ’76 Prince named Jelly Jam. Comprising two of the three songs Prince included in his original demo reel which got him signed to Warner that year, it is therefore a track of great significance. No other on For You showcases Prince better than this, and without it Sexy Dancer would not exist. Fortune favours the bold.
Bambi
Prince • Warner Bros. Records • 1979
Single
Not a cute Disney number as the title might allude, Bambi is a roller-coaster of a Prince track that when played live will reduce fully grown males into screaming girls, for it contains perhaps his greatest showcase of his ability with the guitar and, at such an early stage in his career, one of the best rock gods of his time. Bambi received limited release as a single being issued only in Belgium. Deserving better, 3rdEyeGirl gave it a welcome dusting down for their shows of 2013/14 and sounded as fresh as ever. If you don’t have this song in your collection you don’t have a collection. For those about to rock, we salute you.
Dirty Mind
Dirty Mind • Warner Bros. Records • 1980
Single
Prince once said it took him four years to become an overnight success. Before superstardom, the title track of his third album Dirty Mind is one of, well arguably the funkiest tracks in music. Cowritten with “Dr” Fink during a rehearsal who created this iconic opening on his ARP Omni keyboard, and extends into a positively nasty rhythm. The song is plain and simple an ode to banging. Where the storyline refuses to rise further than the waistline, the track forms the keystone to Prince’s legacy in which he is the undisputed king of funk.
Controversy
Controversy • Warner Bros. Records • 1981
Single
Dirty Mind was lewd, rebellious and petulant, but come Controversy and with the mainstream now in sight, Prince’s music had moved on. The opening track of the LP, this is one of the songs which defined his Minneapolis Sound and is the very definition of electro-funk, and so good it was a firm crowd pleaser in Prince’s concerts. Prince’s first 7-minute plus track, Controversy keeps very illustrious company. Robotic, pounding, staccato vocals, this is not crude or playful but honest and masterful and pulls no punches. “People call me rude, I wish we all were nude” Controversy and Sexuality gave us the Prince we grew to love and still yearn for now. As fresh as the day it was written. It’s the first track to introduce the Lord’s prayer in pop lyrics and is brave beyond measure.
Let’s Pretend We’re Married
1999 • Warner Bros. Records • 1982
Single
When it came out in ’82, critics did not warm kindly to Prince’s use of space to fill his first double album, arguing it allowed him far too much latitude to succumb to self indulgence. Prince, self indulgent? Shock horror! Running to 7:20, most of Let’s Pretend We’re Married is dedicated to the intro. Any other artist this would be utter monotony, but equipped with his newly acquired Linn LM-1 Drum Machine Prince created music that to this day sounds like the future.
D.M.S.R.
1999 • Warner Bros. Records • 1982
Dance Music Sex Romance. D.M.S.R. remains the ultimate club classic. A cool 8-minute road trip of funk, Prince’s sharp Oberheim synths gets fans’ heads all a bobbing from the first note. Here Prince lists his life goals in priority: dance, music, sex, which and only once he has conquered his women will they receive romance. “Screw the masses – we only want to have some fun” and that’s what this track is all about: no politics, no rant, just pure groove and chocked full of D.M.S.R. and unmistakably Prince.
1999
1999 • Warner Bros. Records • 1982
Single
What can one say, Prince’s millennial song. Because of this the Millennium was always going to be a big deal for Prince, and dare we say it, whilst The New Master gives it a reboot it’s the original which stands the test of time. Prophetic for many reasons as 1999 would mark the eventual year of expiration of Prince’s loathed contract with Warner Brothers. 1999 is all about how Prince just wants to have a good time, even despite the looming apocalypse. Orwell was thinking of 1984, but Prince was onto a thing when the world would meet its maker in two-thousand zero-zero. Who won’t list this in their personal hall of fame.
Little Red Corvette
1999 • Warner Bros. Records • 1982
Single
Arguably Prince’s most important song, Little Red Corvette received heavy rotation on MTV in 1983 even at a time black artists was afforded rare appearances on the channel, even Michael Jackson. It is the song that delivered Prince his commercial breakthrough and exposed him to whole new audiences worldwide. Without it, there would have been no leverage to produce a Purple Rain movie and who knows the course history would have taken then. Little Red Corvette set the direction of 80s electro pop. The decade would have sounded so different without it.
Purple Rain
Purple Rain • Warner Bros. Records • 1984
Single
Listening to this is a spiritual experience – one where the world stops turning for the near 9 minutes it lasts. Whilst When Doves Cry is regarded as Prince’s best composed song, lets face it, put on track nine of Purple Rain and the volume up to max and you come at one with the greatest song ever created. Purple Rain commands every inch your attention and sucks you into every bar, note, syllable all the way through to its haunting and lingering conclusion. Purple Rain is one of those rare gifts you won’t ever want to end. Prince turned the remainder of his career to a pointless quest to top this but even he could not escape its shadow. Purple Rain leaves his other work – and your mind, out in the rain. And music has never caught up with it.
When Doves Cry
Purple Rain • Warner Bros. Records • 1984
Single
This track was written to montage scenes in the Purple Rain movie and turned out to be Prince’s most successful song. When Doves Cry is possibly also the best pop song ever written and continues to pack a punch 30+ years later and famously contains no bass at all. It is more than a lament about relationship, it is a milestone in music and nothing before or since has matched it. This is the one song that humankind is duty bound to preserve, pop into a capsule and jettison deep into space so other worlds can discover this classic for all eternity. That montage arguably produced the greatest song ever. Not only did it cement the relevance of the Linn Drum Machine in pop music, it as defined the landscape of music since. That is what you call legacy.
The Beautiful Ones
Purple Rain • Warner Bros. Records • 1984
Be in no doubt track #3 is the lurking best on Purple Rain. Overshadowed by the singles, the nakedness of The Beautiful Ones dives to a dimension so deep it will stop you in your tracks. Any woman (it’s understood to be about his relationship with Denise “Vanity” Matthews (a.k.a. Vanity 6), who Prince split with just before the movie. Like her, if you are deciding whether to want Prince or “him”, just listen to this song and it’s no contest. Prince didn’t name his autobiography after it for nothing. Baby, Baby, Baby.
America
Around The World In A Day • Warner Bros. Records • 1985
Single
Lets be honest, if we could ever hear one Prince song live again let it be this one. Get hold of the full 21 minute version and you will see why. Listen to America not for patriotic babble but for one of Prince’s strongest guitar licks put to record. Backed with one of Prince’s most thumping jams it’s too bad that Around The World In A Day is only sought out for Raspberry Beret. We know the guitar is an extension of Prince’s you-know-what, so when he grinds it here we are in for an uplifting musical experience in every essence of the word.
Condition Of The Heart
Around The World In A Day • Warner Bros. Records • 1985
To those who in 1985 expected another Let’s Go Crazy on the follow-up album for Purple Rain and then heard this opener’s intro of flutes and tinkling piano, they would be forgiven to believe they’d just died. Let’s face it, I’d be pissed, too. Yet when heard in context expectations are readjusted and this track soars and takes you to places no other Prince song achieved. It’s better than anything on its predecessor, a minor miracle.
Anotherloverholonyohead
Parade • Warner Bros. Records • 1986
Single
Great chugging beat and even better live, this is Prince’s happiest break-up song. The lyrics are full of infectious attitude and leaves you singing your heart out. Anotherloverholonyohead is often overlooked which is odd because the chorus indeed the song knocks Kiss to the long grass. The extended version is even better, a top-five best of any of Prince’s 12″ cuts. This top cherry on Parade album’s cherry moon is utterly superior to the over feted Kiss. Prince’s 80s material is still fresher than anything available today. They say Prince lost his funk during Parade. Step away from the album and drop the needle on the 12″ singles for a richer experience of this whole project.
![La La La, He He Hee [Highly Explosive] from Sign O’ The Times by Prince](https://goldiesparade.co.uk/wp-content/uploads/prince-sign-o-the-times.jpg)
La La La, He He Hee [Highly Explosive]
Sign O’ The Times • Warner Bros. Records • 1987
Single
This B-side to this iconic album’s title track and lead single is, considering the A-side’s gravitas, epitomises the sheer majesty of Prince. We’re talking here the 12″ Highly Explosive version of La La La, He He Hee the full-length original of the track famously created out of response to a lyrical challenge set by Sheena Easton to work this bonkers title into a track. Boy did Prince meet the challenge. The 12” showcases Prince at his funkiest and blessed with a top tier band: Sheila E, Atlanta Bliss and Eric Leeds. Bass licks aplenty, this is one of Prince’s greatest tracks. Partnered with its better known minimalistic A-side, the B-side shows why Prince defined new genres on his own. Seriously explosive stuff.
If I Was Your Girlfriend
Sign O’ The Times • Warner Bros. Records • 1987
Single
This song is described by many as the very essence of Prince. A reviewer once said that to play this late at night you will discover how marvellous a tune this is. The beat consumes you, and although The Most Beautiful Girl In The World was the larger hit, that lacked the power of this 1987 classic. Featuring engineer’s Susan Rodgers accidentality tweaked up mic input which gave Prince a high-pitched voice, Prince wasn’t angry but embraced it to create a classic. Prince’s heart is tormented, pleading and left only to fantasize about reciprocated love. We’ve all felt that kind of pain.
Shockadelica [Extended Version]
Sign O’ The Times • Warner Bros. Records • 1987
Single
What’s incredible with Prince, is that his B-sides could have easily been A-sides and performed just as well in the charts. Shockadelica was created for the Camille LP, which we all know was dropped from the final configuration of what became Sign O’ The Times. Prince’s 1986 output is the stuff of legend, from which Shockadelica stands out: playful, yet sinister, minimalistic but funk laden. One interviewer at the time asked Prince whether he considered this was his best ever song, the peak of his creativity. Could well be.
It
Sign O’ The Times • Warner Bros. Records • 1987
It is probably the most overlooked tack on Sign O’ The Times, which is hardly surprising considering the illustrious company it keeps. One of the originals intended for Prince and The Revolution’s what would be fourth LP Dream Factory, It is in essence a song of two parts – the outro and the rest. The thumping and thankfully lengthy outro is why It makes the cut here – hypnotic and mesmerizing. My first live encounter with the track was in the Diamonds And Pearls Tour in 1992, the highlight of the whole show, a jaw dropping moment that was seared into my memory ever since. My personal purple epiphany.
Anna Stesia
Lovesexy • Warner Bros. Records • 1988
Like Sign O’ The Times it’s possible to write a book on the lyrics of this song. On the surface Anna Stesia is a spiritual number, soaring us heavenward like no other. Ethereal and absolutely haunting and, well, immensely divine, this song is actually about drugs. Anna Stesia is multifaceted and blessed with restrained power second only in might to Purple Rain. Put it on, play it loud and revel in Prince (the lyricist) in his best moment. Stuff of both beauty and beast.
I Wish U Heaven (Part 1-2-3)
Lovesexy • Warner Bros. Records • 1988
Single
Music industry reviewers at the time complained Lovesexy lacked a beat. I respectfully beg to differ. There are three parts to I Wish U Heaven of which only the first actually made it to the album cut. Things get far deeper in parts 2 and 3. A great driving rhythm throughout builds and tells a story. The structure is furthered on The Scandalous Sex Suite. There are timeless lyrics too, coming into greater relevance for later years What’s My Name: “Take this beat, I don’t mind, got plenty of ’em, and they so fine.”
Sex
Batman • Warner Bros. Records • 1989
Single
Sex was recorded too late to be considered for the Batman soundtrack, and got its much welcomed release in December 1989 as B-side to his debut EP The Scandalous Sex Suite. With its driving bassline, tight percussion, it’s a stripped-down groove packed with attitude. In 1992, he passed the track to Dutch duo Lois Lane who channel the originals sassiness perfectly and gives it a new dimension, enhanced by his added guitar licks which elevate it to Scandalous, truly Exciting, X-rated perfection.
Joy In Repetition
Graffiti Bridge • Warner Bros. Records • 1990
“He liked to frequent this club, down up on 36th. Pimps and thangs like to hang outside and cuss for kicks”. Joy In Repetition seizes attention from the off and rightly so. It is a mind blowing scene setter in which the guitar is the highlight and in perfect harmony continues the storytelling once the intoxicating lyrics are finished. A gaping omission on later ‘hits’ compilation albums – considering this was originally an outtake of Sign O’ The Times. Play it in the repetition this really deserves. There’s joy in repetition. There’s joy in repetition. It stands all time.
The Question Of U
Graffiti Bridge • Warner Bros. Records • 1990
Stemming from 1985, the 1987 reworking of The Question Of U found its way to Graffiti Bridge in 1990 – an LP filled with 80s outtakes, it soared to number one in the UK charts. This hypnotic song stems from Prince’s abandoned project The Flesh, it has power so must be played loud. Should have been a single on the strength of its delicious guitar solo. Instrumentally the ultimate marriage of each instrument take its turn in the limelight. It delivered the highlight of the Nude Tour set lists. Magical.
Gett Off
Diamonds And Pearls • Warner Bros. Records • 1991
Single
Prince’s sexual appetite is fully explored with this groove. Who else can promise 23 positions in a one night stand? Gett Off (don’t mistake it for the 1990 song with a single ‘t’) is a song to literally beg to hear in concert, no fan with a pulse is left sitting still when this is played, it’s Prince most thumping anthem and an ultimate club track to the 90s make no mistake. This late minute addition to Diamonds And Pearls produced its Battle of the Singles between Cream and Gett Off back in 1991. Gett Off packs the greater punch and is damn right dirty to boot. Move over Cream you got licked.
7
Love Symbol • Warner Bros. Records • 1992
Single
This track possibly contains the greatest chorus Prince wrote. And one which, frankly, no one knows exactly what it is about (a possible explanation is the plot line for the video 3 Chains O’ Gold), but equally no one cares. 7 is one of the last great anthems of Prince’s Warner Brothers era and will sweep you away. The hardest challenge is not to be drawn into singing your heart out along with it. If you can though, grabbing a copy of the extended version is highly recommended.
Pink Cashmere
The Hits 1 • Warner Bros. Records • 1993
Single
This multi-lyric-layered treat is just total, utter, sheer perfection. Pink Cashmere is one of the few songs possible to lose yourself to its majesty at every listen. “Come on back to your l’ill man” – And I do. Every time. Shocking to think that this is an outtake and from the tween Lovesexy / Batman era, so maybe classed as a ‘should be hit’ to appear in Prince’s hits compilation and presents arguably Prince’s best collaboration with Clare Fischer. The track was reworked in 1993 for the The Hits/The B-Sides to give fans cause to buy the set – as if fans needed a reason at all! But thanks to God the track was not left to languish forever in the vault.
Erotic City
The Hits/The B-Sides • Warner Bros. Records • 1993
To any other artist, a B-side is a badge given to an inferior song. With Prince it is the mark of greatness. Erotic City is Prince’s deepest cut, and was created after attending a performance of Parliament-Funkadelic at the Beverley Theatre in 1983 and inspired by the crowd’s reaction to music. The full version clocks 7 minutes length and is the more the memorable for Sheila E’s chorus. It’s what they got up to until the dawn back then. Its 1985 reissue got a warning stickered to the sleeve. Enough said. Erotic City come alive.
17 Days
The Hits/The B-Sides • Warner Bros. Records • 1993
The daddy of all Prince B-sides. 17 Days is a masterpiece from January 1984, a time when his B-sides were just as good, if not better than anything on the main LP. The song was created in the sessions at Sunset Sound when movie production on Purple Rain switched to California to escape the harsh Minnesota winter. The Hits/The B-Sides was the first opportunity for many fans to rediscover Prince’s long out of print B-sides of which 17 Days arguably stands tallest among them, if not in the top 10 best songs Prince ever did. It helped keep When Doves Cry at the top of Billboard for 5 weeks and become Prince’s most successful single. Let the rain come down.
Come
Come • Warner Bros. Records • 1994
The song in which one could, quite literally make love to. From the playful seduction, to seeing into the future, to doing the dirty deed itself, of which is climaxed by unbridled pleasure and its glamorous aftermath. Time for a shower. You’ll find yourself exhaling with exhaustion when Prince is done but thankful that he and you stayed the course. At ten full minutes in length Come is oral in real-time – but who’s watching the clock.
Space EP
Come • Warner Bros. Records • 1994
Single
The versions on this outstanding EP Space stand head and shoulders above its album counterpart, and frankly one of the best remix discs Prince ever issued. Fans love remixes and this is why. What makes this EP stand above the others is its completely reimagined content, improving the original with each iteration. From the soft acoustic, to the moody Universal Love mix. To some it might hint Prince was uncertain how the song should be structured, to others just another showcase of his brilliance, to craft a completely different song out of another. It’s splitting hairs to decide between them so don’t try.
Superfunkycalifragisexy
The Black Album • Warner Bros. Records • 1994
Don’t be fooled, this is as far removed as able from Poppins, although this draws inspiration from Disney, as you would expect it’s done in true Prince style. In simple terms, this is Prince’s funk opera and the first song he recorded for the legendary The Black Album. Crashing through at relentless pace, Superfunkycalifragisexy covers so much ground the real challenge is to keep up, yet is easy to love it and do it over again and again. A ride that defies description, and Prince at his funkiest. This legendary vaulted track lives up to its mythical status.
The Exodus Has Begun
Exodus • Edel • 1995
Who on earth could work polyvinyl acetate into the lyrics of a song? Prince, silly. The Exodus Has Begun is Prince’s (as Tora Tora) call to arms and F-U to Warner Bros – “offer us pennies when it’s millions they reap”. This song lays bare the unbound outrage at his former label is powerful stuff and riven with anger. This most publicised feud between artist and record label, that reached its height in 1995, imbued Prince with an unrivalled source of material. Long live New Power.
The Good Life [Big City Remix]
Exodus • Edel • 1995
Single
The Good Life was given a solid push in 1995. Gloriously issued as an EP of wholly reimagined versions of the original the best of these is the Big City Remix. Like Prince achieved so flawlessly with Space this is a different whole new song, entirely rearranged and different lyrics. This version is dark and brooding and the best of a stellar bunch. Bullets Go Bang Remix is only a touch behind it – further proof the 90s was peak Prince.
Billy Jack Bitch
The Gold Experience • Warner Bros. Records • 1995
A personal favourite Prince track of all time – yet not one other fans will leave at the forefront of their list. This is Prince at his underrated best. Recalling his tussles with Star Tribune gossip reporter Cheryl Johnson (“CJ”) who Prince named Billy, and she it can be said the sentiment was mutual. Billy Jack Bitch captures Prince’s venom at being called Symbolina: “Open letters aren’t the only things that open wounds.” The song has it all; razor sharp lyrics, dirty keyboards, an insane horn section and a driving beat that presents us Prince’s tightest work.
Eye Hate U
The Gold Experience • Warner Bros. Records • 1995
Single
This about the ending of Prince’s relationship with Carmen Electra in 1992. The lyrics put her into a courtroom witness box in which Prince is prosecutor. The ‘charge’ is that she had been unfaithful, Prince is spurned and penned Eye Hate U to vent his upset. The Gold Experience soars on many levels, sandwiched by Billy Jack Bitch and Gold in its tracklisting there has rarely been a better sequenced album. This is the 90s equivalent to Purple Rain, such is the quality of the album. I’d be pissed, too, if my record company chose not to release it.
The Love We Make
Emancipation • EMI-Capitol Music • 1996
The Love We Make is about Prince’s former Revolution band mates’ Wendy and Susannah Melvoin’s brother Jonathan Melvoin (of The Smashing Pumpkins) who died of a heroin overdose on 12 July 1996. The song spills out Prince’s profound sadness “Put down the needle, put down the spoon” and implores the listener to cherish the gift of life. The song itself gained new lease of life during the Hit And Run tours of 2014/5 and because it is a truly emotive and personal track its painful narrative will strike a chord with every listen. Desperate is the day that is tomorrow.
Friend, Lover, Sister, Mother/Wife
Emancipation • EMI-Capitol Music • 1996
All the liner notes says about this song is that it was written ‘while she slept’; one of the sweetest things I think I have ever read. The titular ‘she’ is of course Prince’s first wife, Mayte. Her influence on Prince’s writing and particularly this song inspires the best declaration of true love he was able to transfer to record. Prince is soft at first then rises to immense raw passion. Other than 1987s Adore I wonder how many times this song has been played at Prince fans’ weddings. I’d love it played at mine.
Face Down
Emancipation • EMI-Capitol Music • 1996
Hands down, Face Down is the highlight of Emancipation. It is Prince’s best diss track against Warner, goading to be buried face down so they could kiss his ass, it was the was the highlight in the Jam of the Year concerts, when in 1997 Prince was forging his own path as a highly successful and creatively agile independent artist, it is the very anthem of liberation.
Days Of Wild
Crystal Ball • NPG Records • 1998
Once heard never forgotten. Prince never played the same version of this twice in concert. Days Of Wild is bad-ass and truly funktastic. An outtake from The Gold Experience, it only found light of day with this vault taster Crystal Ball. The rap is from the crude little Prince which went M.I.A shortly after this release, when Larry Graham cleaned up Prince’s vocabulary good and proper. If you don’t find yourself grinding to this then seek out a mortician. It’s one of the best songs to hear live. Full stop.
Come On
Newpower Soul • RCA / BMG • 1998
Single
The return of the bass! Prince showcases his remarkable skill in one of the most prominent and best bass in any a Prince track in recent years and is indeed the highlight of Newpower Soul. This was back in the day it was possible to issue singles with six remixes and still qualify for the charts. The extended remixes pack real punch in this top drawer single that’s been dangerously overlooked. “I got the butter for yo muffin, just need the keys to your room” – what a come on.
Man O' War
Rave Un2 The Joy Fantastic • Arista Records • 1999
What’s impressive is that this song contains no fewer than 14 separate layers of Prince’s silky voice. “Break the gold chain that I gave you, throw it down on the floor”, this is Prince’s song about breaking up and feeling wanted again and is the sincerest on the album from which it is its best. Written during the slow demise in his marriage with Mayte, even Prince can beg forgiveness – sometimes, he ain’t no Man O’ War. The track was a promo single albeit inexplicably denied a commercial release.
Old Friends 4 Sale
The Vault: Old Friends 4 Sale • Warner Bros. Records • 1999
Titles like this make you realise Prince turned off his computer’s spell checker long, long ago and never turned it back on since. This is possibly Prince’s most personal and honest track, indeed the version on The Vault is watered down from the original because it was quite simply too painfully honest. Old Friends 4 Sale has a powerful backstory and you feel every inch his burning pain. But are his fans the ‘friends for sale’?
When The Lights Go Down
The Vault: Old Friends 4 Sale • Warner Bros. Records • 1999
Recorded during studio sessions for Love Symbol Album, approx. 1991, When The Lights Go Down is a bag of all sorts – it’s gentle and whacked-out intro slowly builds to a magical crescendo, this is Prince at his 2am lounge act style best. Clocking in at some seven minutes, this is utterly sublime, dreamy and another track you never want to fade to allow normal life to resume.
When Will We B Paid?
U Make My Sun Shine • Wingspan Records • 2001
Single
Prince was oddly quiet in 1999/2000 right when you’d expect to see a big release cashing in on 1999. Caught up with NPG Music Club and feuding with Warner Bros, he didn’t put out anything commercially until 2002, the time when his music was arguably in a renaissance. Prince recorded this his electrifying cover When Will We B Paid? as his fight song demanding back the rights to his Warner catalogue. Not only is it the best cover he ever produced, its quiet opening, then unleashed closing elevates this among his best tracks of the decade.
Rainbow Children
The Rainbow Children • Redline Entertainment • 2001
Here, but purely on musical merit. Rainbow Children starts the album that takes its name. Beginning rather twee, it kicks in to the catchiest jazz tunes you would ever have heard. The track goes to a new level as Prince implores us to “rise” – your cue you crank up the volume to 11 and let the music melt you. And that’s not it. The sheer power of this track is the two-and-a-half minute link to the second track. Prince treats us to guitar heaven and which you can really believe the angels are calling to you. Heaven help you – if not the album’s message should.
Last December
The Rainbow Children • Redline Entertainment • 2001
The most comforting song ever put to music. Should you be on the look-out for a song to put things right in your world, pop this one on. Released just after the 11 September attacks in 2001, Last December offered a beacon of light at a dark moment. And what’s better it comes with bite. Beautiful lyrics and sublime music are perfectly married in this utterly time stopping track. Truly superb.
Empty Room
C-Note • NPG Records • 2004
To be at a concert and hear Prince play this you had truly hit the jackpot. Prince released Empty Room in 2004 to NPG Music Club, its rarity heightens its legend and deservedly so. The song dates from 1985 and was intended for release in 1999 on The Revolution’s aborted outtakes compilation Roadhouse Garden. This version – therefore the only one officially released when finally finding a home as a live version, was captured during the soundcheck before his One Nite Alone tour in Copenhagen, 25 October 2002.
Call My Name
Musicology • Columbia Records • 2004
Occasionally amid the chaff that seem to be clogging radio comes a superior track. Superior because it is one of Prince’s most well-crafted songs of recent years and one stated by him to be in his personal all time favourites. Once critical about fans calling out his name then telling them not to, he is back this sassy track pleading with all to call it once more. Musicology surprised many a fan and critic as it was both commercially and an artistically acclaimed and which Call My Name is testament that artistry and pleasure can coexist. All of Musicology is great – it is in fact Prince’s most successful album of the noughties. So there are two reasons to challenge anyone to put their case against this pure sonic perfection.
![She's Always In My Hair [Extended Version] from Ultimate by Prince](https://goldiesparade.co.uk/wp-content/uploads/prince-ultimate-1.jpg)
She's Always In My Hair [Extended Version]
Ultimate • Warner Bros. Records • 2006
Only Prince could produce a B-side any other band would consider worthy as their best single. The ‘she’ of She’s Always In My Hair is Jill Jones, back up singer and on/off girlfriend of Prince’s inner circle since 1980. The track hails from his Sunset Sound sessions of 1983 but waited until 1985 for release as B-side for Raspberry Beret, no less. Not only does it boast one of Prince’s catchiest melodies, it showcases his electro sound that was so influential on 80s pop. It’s not without reason She’s Always In My Hair is picked by many as the greatest track in music never to make an album. The extended version is pure purple majesty.
3121
3121 • Universal Music Group • 2006
Because of the wonderful bass of Sonny T 3121 is a thumping and rousing opener and gets even the most po-faced fans into a lather at concert. When first listening to Dirty Mind you could think that if Prince is still writing music 25 years later you would hope it would evolve into a song like this. And it did. 3121 is living proof that Prince could still create world-beating kick-ass tunes in the his career and this one is about a party you won’t want to leave (nothing sinister like Hotel California) and with every listen makes me so thrilled to be a Prince fan now than ever.
Chelsea Rodgers
Planet Earth • Columbia Records • 2007
Good old fashioned funk in its purest form. Chelsea Rodgers is Prince turning the disco floor upside-down. Thick with hornz and a beat to get even the largest booty’s a-bouncing Chelsea Rodgers is arguably Prince’s best track since leaving Warner. “A model, used to be a role model.” Prince still leads the way. Named after a real person – a fashion designer, of course and was played at her show at London’s Fashion Week 2007.
Colonized Mind
LotusFlow3r • NPG Records • 2009
A rather dark but lyrical masterpiece. Prince returns to that well trodden path, this time criticising the concept of joint venture record deal: it’s another way another man can still sleep, while he’s sticking you with the bill to explore a theme of fractured society. This is a wide reaching song of contrasts, where the darkness of the lyrics are countered by soaring heavenly guitar which punches through words of introspection and wisdom.
Dreamer
LotusFlow3r • NPG Records • 2009
Wake up. Wake up. This hard-hitting track pulls no punches – a rallying battle cry for “I had a dream” Dr Martin Luther King and the race disparity that sadly still exists. It’s upbeat and the music is tight and a straight forward rock anthem, completely unexpected at this stage in Prince’s career who is playing the guitar with true bite. The track has flavours of Witness 4 The Prosecution, this alone makes Dreamer a worthy classic.
Ol' Skool Company
MPLSound • NPG Records • 2009
“Take the radio back” Prince is in fighting talk recalling the mantra of his 2004 album Musicology; looking nostalgically to the glory days of funk, and Prince and his new Minneapolis Sound. Some say the song shows his bitterness at the current state of music. The message may be nostalgic, but this funky cut serves as a reminder that Prince was a genre of his own and still blazing trails in music.
Laydown
20TEN • The Daily Mirror • 2010
Don’t look on the back cover track listing for this, Laydown is a hidden song. Only Prince could hide the album’s best track. Refreshing hard funk and with a backing as hard as Dr Dre, a great choice to bounce through your speakers if the CD is left to tick all the way trough to track 77 because you forgot to press stop. Laydown is unashamedly nasty and Prince’s best surprise since Wasted Kisses. A raw, rasping, pulsating score in which Prince proclaims he is the one and only Purple Yoda “bringing the dirty new sound.”
Wow
Plectrumelectrum • Warner Bros. Records • 2014
Plectrumelectrum is an old skool LP that is almost impossible to pick out a best track. The one that tops it is Wow, the opener. Prince’s version of the song he wrote for Liv Warfield’s The Unexpected, it was also played over the PA at the start of 3rdEyeGirl’s Hit And Run Part II tour and shall evoke much fond memories hearing it again today. Wow whisks listener on a sexual odyssey, a theme missed in Prince albums post 2001. Reminiscent of The Beatles, and dips, rises and roars, Prince teams up with 3rdEyeGirl to deliver a riotous track that defines their album – an album that punches hard above its weight.
Time
Art Official Age • Warner Bros. Records • 2014
Probably the most majestic Prince song for almost 20 years, Time is the crowning glory of Art Official Age. From the hypnotic bass line to Prince’s heartfelt plea, he seduces with lyrics and a standard of production that harks right back to his high watermark of Sign O’ The Times. Time achieves more in six minutes than most of Prince’s late career output and the result is this masterpiece from an album that is equally worthy to contain it. Such claims have been bandied before with recent releases – this one’s the real deal.
Hardrocklover
HITNRUN Phase One • NPG Records • 2015
Single
This came of nowhere in July 2015, shortly after it was recorded. Released ten weeks ahead of the album no one knew this was in fact a single from a full album, his first release with Warner since their bitter split back in 1993. The greatest partnership in music, Prince + Warner are reconciled. Hardocklover starts softly but builds right the way through to its cracking crescendo. This is exhilarating stuff opening a new dawn.
Revelation
HITNRUN Phase Two • NPG Records • 2015
Its most effective in a dark room and with the volume loud Revelation is thoroughly absorbing. Hypnotic beat laced with a dreamy Hammond Organ, the track is as comforting as the best kiss you’d ever received in your life. Prince’s seductive storytelling is again at its intoxicating best in this perfect paced song for a hectic age. It was Prince’s last remarkable song. What a tragedy.
Moonbeam Levels
4Ever • Warner Bros. Records • 2016
Having always thought the song so unique, since recording it in 1982 Prince never found a suitable place for it. It took his death to give it the light of day, and as soon as that happened, guess what was the song was the very first released from his Paisley Park vault. Moonbeam Levels has mythical status amongst the fan community and one listen confirms why. It is probably the best unreleased song in music history, and that is no overstatement. Thank God it’s locked away no more. A remastered version sits on 1999 Super Deluxe Edition.
1010 (Rin Tin Tin)
Welcome 2 America Deluxe Edition • Sony Legacy • 2021
Just when it was written off as a dud year for Prince, his ‘lost’ second album of 2010, Welcome 2 America was discovered in the vault, dusted down and finally given its long-deserved release in 2021. Even a decade later this track remains fresh, razor sharp, and pulls no punches. Lone Ranger references galore, this belter is proof Prince was on fire in 2010 but begs the question why he never released it.
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