Released in March of 2006, it’s taken me well over 2 years to put into words my feelings for Prince’s album 3121. I think that’s because even though it’s a great record, there’s nothing overly spectacular about it, no one aspect that makes me want to praise it. And as such, what do you say about it?
Prince put himself back into the public eye, earning a Grammy and a bazillion sales (albeit in an underhanded manner, including the cost of the CD in the ticket price for his concerts and handing it out to concertgoers when they walked in the door) with his previous album MUSICOLOGY and it seemed he was finally getting over the hump caused by his mysterious name change and contractual obligation records that had been flooding the market the past several years. Personally I wasn’t THAT impressed with MUSICOLOGY but people were paying attention again and that was pretty cool, I thought. Then 3121 came out and . . . well, like I said, it’s a great record, but trying to figure out just what makes it great has been a chore.
The music is upbeat with lots of drums and synths, all bright and shiny songs about the usual stuff: parties (title track), chicks (“Lolita,” “Black Sweat”), love (“Te Amo Corazon,” “Love”), sex (“Satisfied,” “Incense and Candles”), and God (“The Word”). He introduces yet another female protégé, Tamar (“Beautiful, Loved and Blessed”). In fact, looking at it again, there’s not one new element to 3121 we haven’t heard in a dozen other Prince albums. His alter-ego Camille returns (title track), as does the famous falsetto (“Black Sweat”). Even Sheila E. makes an appearance (“Get on the Boat”).
And maybe this is the key to 3121’s enjoyment. We get an entire record of new Prince material without worrying he’s going off the rails with something new or experimental (THE RAINBOW CHILDREN) or wading through some big statement about current events (most of MUSICOLOGY), it’s just 12 new songs that remind us why we love him in the first place. The credits alone should be enough to assure us we’re in store for something great. Other than guest drums and bass on 3 songs, as well as percussion on 2, it’s all instruments and voices by Prince, and THAT is when he really shines the brightest. Prince has always been an artist who works best alone and 3121 gives us that in spades.
If there is a point to 3121 it’s a simple one: Prince makes great records. The songs are a joy to listen to, plain and simple. There’s not one that stands out, there’s not a particular beat or guitar solo that draws more attention than another. It’s just 53 minutes of pleasure. Finally. No longer is Prince trying to save our souls or change our minds about issues like racism. Those songs are present, of course (“The Word” and “Get on the Boat” respectively), but in neither case does the message outweigh the music or overtake the song. We just get to put on the disc, sit back, and let the man take us away for a while.
The funk is in full force on “Love” and “Black Sweat” and if there’s a groovier song about God than “The Word”, I sure haven’t heard it. 3121 is Prince’s thank you to his fans, a promise that, nonsense regarding what he’s called or what he’s releasing to get out of his contract aside, he’s still got us in mind and he still just wants to give us great music. If any of his fans had thought about abandoning him in recent years--and let’s be honest, he’s just not selling records like he used to anymore--3121 is just the thing to bring us back into the fold and reassure us that the man at the wheel does indeed know where he’s going.
3121 isn’t the return of Prince the Seducer, nor of Prince the Preacher, it’s not the return of anything, it’s just Prince doing what he’s always done best, and we get to be along for the ride. It was his first #1 album since 1989. That’s got to say something, right?
3121 is just the thing to give the fans hope for the future, and I’m very much looking forward to seeing what else he has in store for us.
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![3121 [Digipak] by Prince](http://di1.shopping.com/images1/pi/3b/de/d7/2005229586-177x150-0-0.jpg)
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