![]() ![]() ![]() The most extraordinary part of “Graffiti Bridge” is Prince’s outspokenness, both in rejecting a purely hedonistic existence and striving to reconcile what some may regard as the paramount paradox in Prince: his simultaneous embrace of the carnal and the spiritual. But the soundtrack hangs together as a conceptual piece, even without accompanying celluloid. The film reportedly will pick up where “Purple Rain” left off, with Prince and Morris Day and the Time still competing over musical supremacy in Minneapolis. In addition, as always, there’s plenty of energetic funk-rock, which, along with tight, multitextured arrangements and Prince’s production finesse, ties it all together so that the seemingly disparate elements coalesce into an explosion of peculiarly purple passion. And “Shake!,” written by Prince and performed by the Time, incorporates a melange of classic ’60s, shreds of soul, R&B, garage rock and even a little Texas punk-soul. On the ballad “Still Would Stand All Time,” meanwhile, Prince contributes some of the sweatiest R&B/gospel vocals he’s ever mustered, while the Steeles back him up with luscious gospel-choir work. “Melody Cool” is a marvelous soul-drenched vehicle for gospel veteran Staples. “The Question of U,” for instance, is a slow blues given a technological, contemporary sheen, featuring Prince’s blues rock guitar solos and harpsichordlike keyboard work. Since his career began, Prince’s ability to bridge musical genres – from the pop psychedelia of “Around the World in a Day” to James Brown funk and scorching rock ‘n’ roll – has been no secret.īut only recently, most notably at the Rupert’s warm-up gig for his current European tour, has Prince so blatantly and affectionately tapped into rhythm and blues, gospel and blues, at the same time incorporating bits of rap and hip-hop. There are killer dance tracks (“Shake!”), cosmic funk (Prince teamed with master funkateer George Clinton on “We Can Funk”), glorious funk-rock anthems (“New Power Generation”), first-rate soul (Mavis Staples and the Steeles on “Melody Cool”) and plenty of grist for serious thought (“Thieves in the Temple,” the first single.) ![]() #FLOWER DRUM SONG RATING MPAA MOVIE#21 – from Prince’s forthcoming movie (not due until fall) is an artistic triumph that also has the look of a commercial smash. In short, the 17-cut soundtrack – scheduled to be released Aug. And all the while, he delves from his trademark tight, funk-rock groove deeply into black musical roots. Utopian, defiant, expressing a newly determined commitment to social change and grappling anew with the dichotomy between earthly desires and spirituality, Prince covers impressive thematic ground in addition to seriously partying down (often with his pals in the resurrected Time). With the assurance of a master, Prince has reasserted his reputation as one of pop’s most brilliant innovators with his new album, “Graffiti Bridge.” ![]() Prince, with the Time, George Clinton, Mavis Staples, the Steeles, Tevin Campbell Paul Pioneer Press, ‘BRIDGE’ SPANS ALL THE GENRES I have found more reviews, of which I don’t own a physical copy, so text-only. ![]()
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