New Prince LP works I Courtesy of Elektra/Asylum Records TRACY from Page 8 be positive for change in the future. Not only does she do all the vocals, but she writes her own words and music, and playsclcclric and acoustic guitars, as well as percussion, in her songs. This is very uncommon these days among all die Debbie Gibson/ Tiffany-typewanna-bc’savailablcon today’s airwaves. Therefore, Chapman makes providesa rare treat. The combination ol her voice, which has been likened by some to that ol Joan Armatrading and Jom Mitchell, and the way she addresses social concerns through her words and music, makes for an album well worth listening to if you are looking for quality music with a quality mes sage. — Deanne Nelson r~ mm i Courtesy of Paisley Park/ Warner Bros. Records Prince “Lovesexy” Paisley Park/ Warner Brothers Records His Majesty, the High Priest of Funk returned. Minus the Revolution and his clothing on the provocative album cover, Prince is back with a new album to let the “New Power Generation” in on the way to scxuui and spiritual fulfillment. The publicity surrounding “Lovesexy” may do it harm. But for s[ l|a|n|g -E._L£_£ r. _N _A JM _l_ D[ R[G| OIL* fsfnElllL aMlH l " L w1 pjjpjffel fT|wlK|SMEtB|AlWME|V[A get about the lyrics supposedly too hot for radio playlists and the “shocking” nude photo of Prince on the cover. Ignore the so-called “Black Album” lull ol even more explicitly taboo lyrics that was scrapped before this album’s debut. Backed up with the strong but understated percussion of Sheila E. and tight backing from the rest of his ensemble, Prince shrieks and coos his way through a continuous string of entrancing songs to make “Lovesexy ” one of the albums to buy this year. As always with Prince’s work, “Lovesexy” revels in the seductive pleasures of life yet reminds us with a chill hint of an apocalyptic reckoning to come, unless, in the words of the mfcctiouscurrcntchart hit “Alphabet Street,” we “put the right letters to gether and make a better da^‘ A n n a Stcsia,” the track with the most driv ing rhythms, most clearly emphasizes this mingling of the erotic and reli gious characteristic of Prince's work. Beginning with lines such as “Come to me/ravish mc/liberatc my mind,” in midsong Prince re-avows himself loGod, promising to tel I His story and ending with a hypnotic chant that “Love is God/God is love/Girls and boys love God above.” Scarily enough, it works. The second side contains the most seductive song on the album, the smooth “When 2 R in Love,” a pretty melody with an irresistibly quiet bass line, followed by the swirling, airy rendition of “I Wish U Heaven.” Yet no matter how funky “Lovesexy” gets, and despite the presence of such “happy” tunes as “Glam Slam,” (“This thing we’ve got is alive/It seems 2 transcend the physical/Onc touch and I’m satisfied/ Must be a dream it’s so magical”) Prince never lets us ignore the fore boding, particularly in such songs as the final “Positivity.” As the volume increases, Prince admonishes us “not to kiss the beast/Wc need love and honesty, peace and harmony” be cause “We got a long, long way 2 go.” This mixture makes “Lovesexy” a spellbinding, highly listcnable, danccablc, yet ultimately disturbing work by one of the most elusive icons of our time. —William Rudolph •& I K Thursday ^T~7N 3cS'L Yjfcffc 1 for $1 \ II UMffPaB A NEBRASKA LEGEND WIJH A NEW YORK ACCENT Tone medium pizza H so* off jjsJ“NEW YORK STYLE”! 12” HOT HOAGIE m AND ! OR gONE QUART PEPSI i 25